Beatriz at Dinner

Directed by Miguel Arteta and written by Mike White, Beatriz at Dinner is the story of a Mexican-American massage therapist who is unexpectedly invited to dinner by one of her clients where she finds herself dealing with an arrogant dinner guest. The film is a look into a dinner party filled with rich white people and a lone working-class Mexican-American who finds herself at a dinner where it eventually starts to unravel due to her presence. Starring Salma Hayek, Connie Britton, David Warshofsky, Chloe Sevigny, Jay Duplass, Amy Landecker, and John Lithgow. Beatriz at Dinner is an eerie yet somber film from Miguel Arteta.

What happens when a massage therapist finds herself being a guest at a dinner party where the man who is the center of attention happens to be one of the most evil men living on Earth? That is pretty much what the film is about as it explores a day in the life of this woman named Beatriz (Salma Hayek) who spends the day doing work at a massage therapy center in helping cancer patients as she also has a rich client in Kathy (Connie Britton). Mike White’s screenplay doesn’t just explore Beatriz’s day as she copes with loss of a goat who was killed by her neighbor but also a day that feels very typical until she is asked to see Kathy who is preparing for a dinner party with her husband Grant (David Warshofsky). Beatriz’s relationship with Kathy and Grant has much to do with the fact that Beatriz had helped their daughter with her battle with cancer. Due to the fact that Beatriz’s car couldn’t start, Kathy invites Beatriz to stay for dinner where Beatriz spends much of the film being this observer as the guests at the dinner party are all white.

The guest of honor at this dinner party is the real estate mogul Doug Strutt (John Lithgow) who is this unconventional antagonist who seems to take pleasure in the money he makes as well as be arrogant in his accomplishments. Yet, Beatriz is curious over a connection she has with him as Strutt is accompanied by his wife Jeana (Amy Landecker) while a couple in Shannon (Chloe Sevigny) and Alex (Jay Duplass) are also guests at the party. Beatriz would observe everything that goes on while also telling about how she met Grant and Kathy through their daughter only to be interrupted by Strutt who would ask questions about her status in America. The dinner would eventually intensify with Kathy stuck in the middle wanting to protect Beatriz yet is aware that Strutt is the reason she and Grant are living a life of luxury as they really don’t know anything else.

Miguel Arteta’s direction doesn’t really bear much of a visual style other than recurring images of Mexico as well as Beatriz’s dead goat and ocean waves as it play into the sense of longing and loss that looms Beatriz during the course of the day. While there are some wide shots in the film including the way Arteta would frame some of the characters in a scene inside Kathy and Grant’s home as a way to show how detached everyone else is to Beatriz’s life and Beatriz herself. It’s also the way Arteta would use close-ups and medium shots to play into Beatriz’s own observation of this party as well as the guests who don’t know her at all as they find her interesting but are concerned about their own lives and what’s going to happen. Yet, with Strutt being the center of attention talking about his accomplishments and ultra-conservative views on the world. Beatriz would eventually find herself becoming more disgusted with him and who he is as a human being.

Arteta’s approach to the suspense and drama is restrained as well as it play into Beatriz being this outsider who would realize more of her connection to Strutt and his actions towards the world. There are these brief moments of intense moments of confrontation but it is all about the status quo as there’s elements of realism that Beatriz has to deal with as it relates to who she is and the ways of the world. Despite the things Strutt says and his actions about what he does, there is still an air of defiance and dignity in Beatriz in how Arteta would frame her as it does play into her place in the world. Overall, Arteta crafts a riveting and understated film about a Mexican-American massage therapist being a guest in a dinner party with one of the vilest men in the world.

Cinematographer Wyatt Garfield does excellent work with the film’s cinematography for the usage of low-key lights for the scenes in the daytime as well as the look for the scenes at night including its interior/exterior setting. Editor Jay Deuby does fantastic work with the editing as it does have bit of styles in the usage of the recurring flashbacks in some stylized transitions as well as some rhythmic cuts to play into the drama. Production designer Ashley Fenton and set decorator Madelaine Frezza do amazing work with the look of Kathy and Grant’s home in how lavish it is as well as the look of their daughter’s room. Costume designer Christina Blackaller does wonderful work with the costumes as it play into the ordinary look of Beatriz to the more posh look of Kathy and her friends.

Visual effects supervisors George Loucas and Scott Mitchell do nice work with the visual effects as it is largely minimal for some exterior set dressing including images that Beatriz would see. The sound work of Dan Snow is superb for its low-key atmosphere in the dinner scenes as well as how Beatriz would observe guests outside the house as she is listening to their conversations. The film’s music by Mark Mothersbaugh is terrific for its low-key approach to the music with its mixture of ambient, soft keyboard-based music, and somber orchestral music to play into the melancholia while music supervisor Margaret Yen provides a low-key soundtrack filled with kitsch music played in the background as well as an ambient piece by Brian Eno.

The casting by Joanna Colbert and Meredith Tucker is amazing as it features a few small roles from John Early as Grant and Kathy’s servant and Enrique Castillo as a tow truck driver. Jay Duplass and Chloe Sevigny are superb in their respective roles as the couple Alex and Shannon with the former being someone who likes to drink and do immature things while the latter is a snobbish woman who believes she has a lot to offer. Amy Landecker is fantastic as Strutt’s wife Jeana as a woman who doesn’t really know much about the world as well as being ignorant about everything she has. David Warshofsky is excellent as Kathy’s husband Grant who isn’t keen on having Beatriz at the dinner party but reluctantly gives in since Beatriz did a lot for his daughter.

Connie Britton is brilliant as Kathy as a woman who is kind of Beatriz though she’s is torn in her loyalty to Strutt for the lifestyle he’s brought to her and Grant as well as what Beatriz meant to her as it’s a tricky performance from Britton who could’ve been a one-dimensional character but shows there’s still an air of humanity despite her ignorance of what Beatriz is going through. John Lithgow is incredible as Doug Strutt as it’s a performance that just oozes this air of inhumanity, arrogance, and disdain as someone who is proud of what he’s done with little regard for what other people think and whom he’s hurt as it is one of Lithgow’s great performances. Finally, there’s Salma Hayek in a phenomenal performance as the titular character as a Mexican-American massage therapist who becomes an unexpected dinner guest as she deals with the other guests including Strutt whom she would despise as the night goes on as it’s a restrained performance from Hayek that shows a woman who’s endured so much loss and heartache as it’s Hayek in one of her defining performances.

Beatriz at Dinner is a sensational film from Miguel Arteta that features top-notch performances from Salma Hayek and John Lithgow. Featuring a compelling script by Mike White, a superb ensemble supporting cast, and a look into a world that is toxic with the person at the center of attention mirrors a certain figure who is probably the most hated individual of the 21st Century so far. In the end, Beatriz at Dinner is a spectacular film from Miguel Arteta.

Miguel Arteta Films: (Star Maps) – (Chuck & Buck) – (The Good Girl) – (Youth in Revolt) – Cedar Rapids - (Alexander and the Terrible, Horrible, No Good, Very Bad Day) – (Duck Butter)

© thevoid99 2018

Raising Cain

Written and directed by Brian De Palma, Raising Cain is the story of a child psychiatrist who starts to unravel by his wife’s affair with another man as well as her concerns over the way he is raising their daughter. The film is an exploration into the world of duality where a man’s obsession in how to raise his daughter forces him to confront his own demons. Starring John Lithgow, Lolita Davidovich, Steven Bauer, Frances Sternhagen, Gregg Henry, Gabrielle Carteris, Tom Bower, and Mel Harris. Raising Cain is a gripping yet stylish film from Brian De Palma.

The film revolves around a respected child psychologist whose demons relating to his father has come back to haunt him as he’s being asked by his father and twin brother to kidnap children for an experiment as he becomes more undone by his wife’s affair with another man. It’s a film that plays into a man being forced to take part in these killings of young mothers for his father as he deals with not just his twin brother but also other aspects of his personality as he becomes very attached to his own daughter. Brian De Palma’s screenplay doesn’t just explore the world of multiple personalities but also what drives a man to be undone by the fact that his marriage isn’t great as well as his own need to be too attentive towards his own daughter.

Adding to this chaos are the people Dr. Carter Nix (John Lithgow) is surrounded by including his own father and twin brother called Cain. Once Nix suspects his wife Jenny (Lolita Davidovich) is having an affair, Cain would take matter into his own hands where it’s second half plays into not just the investigation of these murders and kidnapping. It also plays into Nix’s own background and the experiments that his father did.

De Palma’s direction is engaging for the way he plays into a man coming undone by his family and their traits as De Palma doesn’t just go for stylish compositions but also play with the rhythms of suspense. Notably as De Palma goes for slanted angles and intricate tracking shots to play with some of the investigation and chaotic moments in the film. Among these sequences include one where Jenny is trying to bring a gift for her former lover Jack Dante (Steven Bauer) as it plays into these moments into where it blurs the idea of reality and fantasy. It plays to De Palma not only messing around with the schematics but also spend some of the second half where it’s about the world of duality and identity. Most notably a scene where police detectives talk to a former associate of Nix’s father in Dr. Waldheim (Frances Sternhagen) as it is told in this intricate tracking shot from a steadicam where Waldheim talks about what Nix’s father was doing and why there should be concern for Carter.

The film’s third act doesn’t just become about Carter but also plays into the experiments of his father where a lot is revealed but in a slow burn where it doesn’t rely on exposition but also a lot of guessing. At the same time, De Palma doesn’t go for anything that is conventional in terms of presenting the smaller characters as detectives prove to be quite competent as well as smart though they’re also flawed. Yet, the climax would prove to be inventive where De Palma wouldn’t just use some amazing compositions in the way he puts actors in the foreground and others in the background. It’s also in the way he would foreshadow something as well as create something that is lavish in something that could be very simple. Even in the way De Palma plays with twists and turns while creating moments that serves as a homage to classic horror/suspense films. Overall, De Palma creates a very lurid yet exciting film about a child psychologist falling apart over his marriage and dark family traits.

Cinematographer Stephen H. Burum does excellent work with the film‘s cinematography for may of its intricate lighting schemes for the scenes set at night as well as in its interior settings as it helps sets a mood for the film. Editors Paul Hirsch, Robert Dalva, and Bonnie Koehler do amazing work in the editing as it has some very offbeat rhythms to play with its suspenseful moments while creating some inventive montages that subvert the expectations in the concept of suspense. Production designer Doug Kraner, with set decorator Barbara Munch and art director Mark Billerman, does fantastic work with the look of Dr. Nix‘s home as well as the hotels and other places the characters go to including the police base.

Costume designer Bobbie Read does nice work with the costumes from the stylish clothes of Cain to some of the more casual yet clean clothes of the many other characters in the film. Sound editors John Morris and Jerry Ross do terrific work with the sound in the way some of the little moments in the locations sound as well as some of the mixing to help build up the suspense. The film’s music by Pino Donaggio does brilliant work with the film‘s score with its soaring orchestral score to play into the suspense and drama that is filled with lush strings as it’s a major highlight of the film.

The casting by Pam Dixon is superb as there’s some notable small roles from Gabriele Carteris as a babysitter, Teri Austin as a friend of Jenny’s, Mel Harris as a mother Dr. Nix meets with early in the film, Amanda Pombo as Dr. Nix and Jenny’s daughter Amy, and Barton Heyman as a retired detective who investigated a case involving Nix’s father. Gregg Henry and Tom Bower are excellent as two detectives who investigate the case of the murders and disappearing children where they’re initially dismissive about Dr. Nix and his claims until they realize that something isn’t right. Frances Sternhagen is fantastic as Dr. Weldheim as a former associate of Dr. Nix’s father who always suspected something about the studies that Dr. Nix’s father had done as she believes that these kidnappings have something to do with it.

Steven Bauer is terrific as Jack Dante as a widower of one of Jenny’s patients who is deeply in love with Jenny as he wants to rekindle a love affair only to be targeted by Cain. Lolita Davidovich is amazing as Jenny as a doctor who becomes concerned about her husband’s behavior and attentiveness towards their daughter as she finds solace in Jack which prompts her to confront Jack. Finally, there’s John Lithgow in an incredible performance in a series of roles from the very caring yet cowardice Carter where Lithgow is full of fright to the dark charm that is Cain where Lithgow is always cool and isn’t afraid to mock Carter. Lithgow also plays their father in a Scandinavian accent who orders Carter and Cain to do the job as it’s a performance where Lithgow is enjoying himself as he puts on a show that is fun to watch.

Raising Cain is a marvelous film from Brian De Palma that features a tour-de-force performance from Brian De Palma. Along with a strong supporting cast, dazzling visuals, and a sumptuous score by Pino Donnagio, the film is definitely one of De Palma’s more bawdy and entertaining films. In the end, Raising Cain is a thrilling and exhilarating film from Brian De Palma.

Brian De Palma Films: (Murder a la Mod) - (Greetings) - (The Wedding Party) - (Dionysus in ‘69) - (Hi, Mom!) - (Get to Know Your Rabbit) - Sisters - (Phantom of the Paradise) - (Obsession) - Carrie - The Fury - (Home Movies) - Dressed to Kill - Blow Out - Scarface - (Body Double) - (Wise Guys) - The Untouchables - Casualties of War - The Bonfire of the Vanities - Carlito’s Way - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale - The Black Dahlia - (Redacted) - Passion (2012 film) - (Domino (2018 film))

© thevoid99 2015

Blow Out

Written and directed by Brian De Palma, Blow Out is the story of a sound effects technician who discovers he had recorded a murder after seeing a car crash into a creek. Inspired by Michaelangelo Antonioni’s Blow-Up, the film is an exploration into a man trying to uncover something that could be drastic as he finds himself getting more than he bargains for. Starring John Travolta, Nancy Allen, Dennis Franz, and John Lithgow. Blow Out is a stylish yet entrancing film from Brian De Palma.

When a sound effects technician is at creek recording some sound for sound effects, he witnesses a car crashing into the lake as he saves a woman was in the car where he realizes that this wasn’t an accident. It’s a film that isn’t just about sight and sound but also what this sound technician would uncover as the victim who was killed in the crash is a presidential candidate as questions come into play. At the same time, the sound technician Jack Terry (John Travolta) realizes that there’s a cover up as there are those who want to say it’s an accident as he doesn’t think so while he believes he and the young woman he saved in Sally (Nancy Allen) are targets in this cover-up.

Brian De Palma’s screenplay explores Jack’s obsession with what he heard as he think what he hears at first is a tire blow-out but through the tape he’s listening to. He realizes that it was a gunshot that hit a tire as he knows something isn’t right as he asks what Sally was in the car for. Once the story progresses as Jack is trying to see what is going on as he becomes aware of a cover-up. Things start to unravel more as it relates to Sally’s involvement as well as the man who took the pictures of the chase in Manny Karp (Dennis Franz) who using the photos so he can get some big money. Another person that is involved in these events is a mysterious man named Burke (John Lithgow) as it is clear he’s involved in these cover-ups as he helps drive the story as well as Jack’s own investigation where Jack knows he can only rely on himself and Sally since he doesn’t trust the police due to a bad experience working as a surveillance man for them.

De Palma’s direction is very ravishing for the way he presents the film as it begins as a creepy slasher film where it’s really a film within a film as it establishes what kind of work Jack does. It is De Palma sort of making fun of the world of horror including himself as it showcases how the slasher genre was becoming parody while it would also lead to some key moments into what Jack’s boss wants. Shot on location in Philadelphia, the film does play into this event as it relates to the anniversary of the Liberty Bell as it adds to this sense of suspense and paranoia that looks over Jack as he would try to do the right thing as well as turn to the police but things become complicated. De Palma’s approach to compositions from the way would shoot things in the foreground and the background add to the drama as well as the use of split-screens.

The direction also has De Palma create some unique ideas of framing in the way he creates the element of mystery from the usage of high angles and other stylistic shots as well as his usage of close-ups and medium shots. Even in scenes that involve Jack and Sally as they both talk about what is happening as there’s an attraction between the two yet both of them see the bigger picture of what is going on. Once it become clear that there are forces behind this cover-up, the film does get darker as it showcases what kind of power some have as it would play into this very thrilling climax. A climax that is very stylish but also has a sense of power into the way things are in the world and what Jack is being asked to do in his job. Overall, De Palma crafts a very smart and riveting film about a sound technician witnessing a murder through his eyes and ears.

Cinematographer Vilmos Zsigmond does brilliant work with the film‘s very low-key yet stylish photography from some of the exterior scenes set at night to the naturalistic look of the city locations in the day as well as the film‘s climax as it‘s awash with lots of colors as the film also features additional photography from Laszlo Kovacs for the film‘s climax. Editor Paul Hirsch does amazing work with the editing with its usage of jump-cuts and other stylized cuts to play into the suspense and chilling elements of the film as well as the cheesier cuts in the film within the film. Production designer Paul Sylbert and set decorator Bruce Weintraub do nice work with the look of the home apartment of Manny as well as the home and workplace of Jack that showcases their different lifestyles.

Costume designer Ann Roth does terrific work with the clothes that Sally wears to present her unique style as someone who becomes aware of the target she has on her back. Sound editor Dan Sable does excellent work with the sound with the sound is cut as well as the many textures in the sound effects and such as it‘s one of the film‘s highlights. The film’s music by Pino Donaggio is fantastic for its orchestral bombast with its lush string arrangements and themes that play into the drama and suspense with elements of piano and low-key percussions as it helps drive the film as it is another of the film’s technical highlights.

The casting by Lyn Stalmaster is superb as it features some notable small performances from John Aquino as Detective McKay, John McMartin as the governor’s aide Lawrence Henry, John Hoffmeister as the governor who is running for president, Peter Boyden as Jack’s director Sam, and Curt May as the news reporter Frank Donahue. Dennis Franz is wonderful as Sally’s friend Manny who took the pictures of the crash as he realizes the kind of money would be astronomical unaware of the severity and lies he’s creating. John Lithgow is brilliant as Burke as a man who is hired to take care of things as he is good in creating chaos as well as spy on those whom he feels will unveil the truth.

Nancy Allen is fantastic as Sally as a young woman who was part of a conspiracy as she is unaware of the involvement as she tries to deal with the situations and help Jack reveal the truth. Finally, there’s John Travolta in an incredible performance as Jack Terry as this sound man who discovered that he had recorded an assassination as he realizes the danger of what is happening. It’s a performance where Travolta is quite restrained but also filled with a determination and humility that is engaging as he also has these amazing scenes with Allen as this film showcases Travolta in one of his finest performances of his career.

Blow Out is a phenomenal film from Brian De Palma that features a tremendous performance from John Travolta. Along with a great supporting cast, some amazing technical work, and Pino Donaggio’s mesmerizing score. It’s not just this smart and visually-stylish thriller but also an intriguing study into the world of conspiracy and what is seen and heard in an act of murder. In the end, Blow Out is an outstanding film from Brian De Palma.

Related: Blow-Up - The Conversation

Brian De Palma Films: (Murder a la Mod) - (Greetings) - (The Wedding Party) - (Dionysus in ‘69) - (Hi, Mom!) - (Get to Know Your Rabbit) - Sisters - (Phantom of the Paradise) - (Obsession) - Carrie - The Fury - (Home Movies) - Dressed to Kill - Scarface - (Body Double) - (Wise Guys) - The Untouchables - Casualties of War - The Bonfire of the Vanities - Raising Cain - Carlito’s Way - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale - The Black Dahlia - (Redacted) - Passion (2012 film) - (Domino (2018 film))

© thevoid99 2015

Love is Strange

Directed by Ira Sachs and written by Sachs and Mauricio Zacharias, Love is Strange is the story of a recently-married gay couple who are forced to live separately due to financial issues as they each deal with their new surroundings. The film is an exploration into same-sex marriage where two men who want to be together find themselves being forced to live apart and find homes with the aid of family and friends. Starring John Lithgow, Alfred Molina, Marisa Tomei, Charlie Tahan, and Cheyenne Jackson. Love is Strange is a touching and engaging film from Ira Sachs.

The film plays into two men who finally marry after being together for 40 years as they’re forced to live apart when one of them loses his job and financial issues would force the situation where the two would live among family and friends. It’s a film that plays into the world of two men who love each other as circumstances beyond their control force them to move out of their apartment and live with other people while trying to find a new home. There, the separation takes a toll on not just these two men but also the friends and family that give them a place to live. The film’s screenplay explores the dynamics of two men in different living situations as the painter Ben (John Lithgow) would live with his nephew Elliot (Darren Burrows) and his family while the music teacher George (Alfred Molina) would live with neighbors in a couple of gay cops.

It’s a situation that isn’t just tense but also quite strange as Ben finds himself chatting with Elliot’s wife Kate (Marisa Tomei) while rooming with her teenage son Joey (Charlie Tahan) who is going through growing pains. For George, living with Ted (Cheyenne Jackson) and Roberto (Manny Perez) becomes uneasy as Ted and Roberto often hold parties where George just wants something quiet. It creates not just a world where two men really long for each other but are hoping to adjust to their living situations hoping that it is temporary until they can find an affordable home. It’s a script that doesn’t have a lot of plot but rather rely more on characters and the environment they’re in as Ben and George are just two men who have been through a lot and aren’t sure if they can take another lifetime of just not being together.

Ira Sachs’ direction doesn’t feature a lot of stylistic shots but does contain some very interesting and mesmerizing compositions. Shot largely on location in New York City, Sachs goes for something that is very intimate as it’s more about the story rather than a certain landmark that is often seen in New York City. With a lot of close-ups and medium shots, Sachs maintains something that starts off lively until George’s firing where it becomes a bit more serious with some low-key humor. Sachs knows where to frame his actors for scenes which would play into the tension surrounding Ben and his nephew’s family where Ben feels like he is intruding. The scenes involving George living with his neighbors show a sense of awkwardness into how old he is and how young his neighbors are where Sachs knows where to place the camera. The scenes of Ben and George together do show a spark of life such as a scene late in the film of the two at a bar which definitely says a lot about their relationship without really saying anything. Overall, Sachs creates a mesmerizing and compelling story about a gay couple struggling to live apart.

Cinematographer Christos Voudouris does excellent work with the cinematography to capture the look of the outside exteriors in the day including a skyline that Ben is trying to paint. Editor Affonso Goncalves and Michael Taylor do terrific work with the editing as it‘s very straightforward with a few stylistic cuts including a montage of George talking about his firing to his former students. Production designer Amy Williams, with set decorator Kendall Anderson and art director Steve Grise, does fantastic work with the look of the different apartments from the quaint look of the old apartment Ben and George lived in to the more spacious but unsettling home that Ben would live in with his nephew and his family.

Costume designer Arjun Bhasin does nice work with the costumes as it‘s mostly casual with the exception of a few stylish clothes that Ben and George wear. Visual effects supervisor Lucien Harriot does good work with the minimal visual effects as it relates to the view that Ben is painting. Sound designer Kent Sparling does superb work with the sound to create some montages for George‘s letter to his student as well as creating something that feels natural though there‘s moments where some of the music on location does overwhelm the dialogue. Music supervisor Susan Jacobs creates a wonderful soundtrack that includes contemporary music as well as classical pieces by Chopin and Beethoven as much of it is played on location and on set.

The casting by Avy Kaufman is amazing as it features some notable small performances from John Cullum as George’s former boss who would fire him, Harriet Sansom Harris as a lesbian cop friend of Ted and Roberto, Christina Kirk as a family friend named Mindy who has a home in upstate New York, Christian Coulson as a young man George would meet at a party, Eric Tabach as Joey’s friend Vlad who would befriend Ben, and Manny Perez as the gay cop Roberto. Cheyenne Jackson is terrific as Ben and George’s neighbor Ted who is also a gay cop that would introduce George to Game of Thrones as well as his world of parties that George isn’t comfortable with. Darren Burrows is superb as Ben’s nephew Elliot who copes with the new situation as well as his son’s growing pains while often being away at work.

Charlie Tahan is excellent as Elliot and Kate’s teenage son Joey who copes with the living situation as he starts to act out while dealing with his own growing pains. Marisa Tomei is fantastic as Elliot’s wife who adores Ben and George but becomes annoyed with the living situation as she tries to get her own work done while helping Ben in finding a home for him and George. Finally, there’s Alfred Molina and John Lithgow in remarkable performances in their respective roles as George and Ben. Molina provides a melancholia as George who copes with his own living situation while dealing with the loss of his job as a Catholic school music teacher as Molina maintains a low-key yet evocative performance. Lithgow provides a liveliness to the role of Ben as a painter who is trying to cope with being separated as well as getting old where Lithgow displays some humility and the ability to be the quiet observer as it relates to his own family.

Love is Strange is a marvelous film from Ira Sachs that features great performances from John Lithgow and Alfred Molina. Along with a great supporting cast led by Marisa Tomei, the film is a delightful and heartwarming comedy-drama that explores the relationship of two men as they cope with being apart due to a very complicated situation. In the end, Love is Strange is a sensational film from Ira Sachs.

Ira Sachs Films: (The Delta) - (Forty Shades of Blue) - (Married Life) - (Keep the Lights On)

© thevoid99 2015

Dreamgirls

Originally Written and Posted at Epinions.com on 2/25/08 w/ Additional Edits & Revisions.

Based on the Broadway musical by Tom Eyen and Henry Krieger, Dreamgirls is the story of three young women from Detroit trying to make it as singers as they go from singing backup for a popular R&B singer to becoming a popular singing group with the help of a ruthless and sleazy car salesman who becomes their manager. Written for the screen and directed by Bill Condon, the film is an exploration of three women trying to succeed as they would pay a major price for their success where two of these women would embark into their own individual journeys. Starring Jamie Foxx, Beyonce Knowles, Eddie Murphy, Danny Glover, Anika Noni Rose, Keith Washington, Sharon Leal, Hinton Battle, and introducing Jennifer Hudson. Dreamgirls is a sensational and lively film from Bill Condon.

It's 1962 in Detroit as three girls named Effie White (Jennifer Hudson), Deena Jones (Beyonce Knowles), and Lorrell Robinson (Anika Noni Rose) are about to perform as the Dreamettes at a talent competition in a Detroit theater. Along with Effie's brother C.C. (Keith Robinson) who is their songwriter, they hope to win big. Instead, they’re defeated as they managed to catch the attention of an ambition Cadillac dealer named Curtis Taylor Jr. (Jamie Foxx) who decides to give them a break. After talking to a man named Marty (Danny Glover) who is the manager to popular R&B singer James "Thunder" Early (Eddie Murphy), the Dreamettes become his backup group. The married Early falls for Lorrell as they tour around the country in African-American theaters. Hoping to break into the mainstream, Curtis decides to employ C.C. to write a song for Early called Cadillac Car that becomes a R&B hit. Unfortunately, the song was then remade into a pop song by a white act that steals its thunder. Deciding to resort to payola with help from Wayne (Hinton Battle), Curtis manages to get another C.C. White-penned song Steppin' To The Bad Side for James Early that becomes a smash hit. Forming a new label called Rainbow Records, Curtis hopes to make the label big with James as his premier act.

With Marty out of the picture, Curtis reinvents James as a crooner by premiering his act at a Miami nightclub. Curtis then notices that a young white man taking a look at Deena. Deciding to break the Dreamettes from James to form their own act. He makes a decision to have Deena sing lead instead of the full-figured Effie, who has a superior voice. Effie reluctantly goes with the move at the insistence of everyone including C.C. Now called the Dreams, they become a huge hit all over the world as their success in the mid-60s nearly rivals the popularity of the Beatles. Yet with success mounting, Effie becomes frustrated as she is convinced that Curtis, who is her boyfriend, is sleeping with Deena. The mounting tension finally leads to Effie being kicked out of the group and replaced by Curtis' secretary Michelle Morris (Sharon Leal) for a New Years Eve performance at a Las Vegas nightclub.

Eight years later in 1973, Deena Jones and the Dreams become a huge success but Deena suddenly finds herself unhappy with her success as Curtis has huge plans to have her star in a film version about Cleopatra. With Rainbow Records now based in Los Angeles, Curtis hopes to go into bigger territory as he has other acts making money for him. Back in Detroit, Effie has now become a single mother with a child named Magic (Mariah I. Wilson) living on welfare with her father Ronald (Alexander Folk) looking on them as he maintains contact with her brother C.C. Effie eventually, swallows her pride as she gets help from Marty to revitalize her career. Back in Los Angeles, C.C. becomes disillusioned with Curtis tampering his music and the direction Rainbow Records is heading. Even as Curtis loses interest in helping James Early's career in which his star has faded and has succumbed to drug abuse, things start to fall apart. C.C. finally leaves Los Angeles to help Effie with her career as he writes a song called One Night Only that starts to climb up the charts in Detroit. Yet, Curtis strikes back when he has Deena and the Dreams to record a disco-version of the song that becomes a smash. When Deena learns what Curtis did and all of the things he's been doing to her, she makes a move that not only helps Effie but also would find inspiration for her own individuality.

The film is essentially inspired by Motown and the rise of the Supremes that included some legendary myths about Diana Ross' affair with Motown's Berry Gordy who chose her to sing lead in the Supremes instead of Florence Ballard who tragically died in the 70s after being kicked out of the group in the late 60s. While screenwriter and director Bill Condon doesn't make any actual references to that truth, the film is really a focus on these three talented young women who become a singing group and hoping to make it as well as the harsh reality that is the music industry. While the film's sense of glossy lavishness and high-production musical numbers might not be for everyone. It still helps carry the story while underneath all those songs is a study of greed in the industry that is now becoming more relevant than ever as the music industry itself, is starting to shoot itself in the foot.

Yet, Condon's focus on the Dreams rise from pop to disco as well as other characters including James Early and Curtis Taylor Jr. Condon's direction plays like a true musical with amazing musical numbers that are often either a band-like performance, a recording, or some kind of lavish production. While Condon lets the audience know that a musical number is coming, it doesn't come out forced and flows naturally as if it's part of the story. The use of wide shots to emphasize the lavish productions, dance numbers, and performances works to convey that feel of the musical. The result is a solid film from the mind of Bill Condon.

Cinematographer Tobias A. Schleissler does an excellent job in the film's look from the stylish lighting of the musical performances to the colorful exteriors of the locations including Detroit and Los Angeles. Editor Virginia Katz does a solid job in the film's cutting without resorting to fast-paced cutting styles in most mainstream features. Instead, Katz maintains the film's spontaneity for its musical performances. Production designer John Myhre and set decorator Nancy Haigh do a fantastic job in creating the set designs for the musical numbers, the nightclub scenes, and the first Rainbow Records building to capture the sense of period of the 60s and the 70s. Costume designer Sharen Davis does a wonderful job in capturing the look of the period with the costumes from the glam-like dresses, 60s go-go clothing, 70s glam with afros, and sparkles with help from a team of make-up and costume designers.

Sound designer/editor Richard E. Yawn does an excellent job in capturing the essence of performance in the staging and dancing along with the differing atmospheres of Detroit and the polished places. Choreographer Fatima Robinson does a wonderful job on the dancing to help capture the rhythm and melody of the songs. The songs of Tom Eyen and Henry Krieger from the musical return as they're definitely memorable with such songs as Fake Your Way To The Top, Cadillac Car, Steppin' To The Bad Side, Family, Dreamgirls, Heavy, When I First Saw You, One Night Only (and its disco reprise), and the famous, And I Am Telling You I'm Not Going. New songs for the film like the thumping soul song Love You Like I Do by Henry Krieger and Sediah Garrett for Jennifer Hudson, Listen by Henry Krieger, Scott Cutler, Anne Preven, and Beyonce Knowles, Patience by Henry Krieger and Willie Reale for Anika Noni Rose, Keith Robinson, and Eddie Murphy, and Perfect World by Krieger and Sediah Garrett for the Jackson 5 dopplegangers the Campbell Connection. The new songs are great to convey the mood of the times and its connection to the film's story.

The casting by Debra Zane and Jay Binder is wonderfully assembled with notable appearances from Jaleel White as a talent booker, Dawnn Lewis as James' wife Melba, Yvette Carson as Deena's mother May, Ken Page as a club owner who lets Effie sing, and cameo appearances from John Krasinski and John Lithgow as filmmakers talking to Deena about a project and one of the original Dreamgirls stage actresses Loretta Devine as a jazz singer. Mariah I. Wilson is excellent as Effie's daughter Magic along with Alexander Folk as Effie and C.C.'s father. Hinton Battle, another actor who appeared in the Broadway version, is excellent as Curtis' cohort who is forced to do bad deeds for Curtis including payola. Sharon Leal is terrific as the Cindy Songbird-inspired Michelle Morris who replaces Effie unaware of what she's doing to the group.

Keith Robinson is excellent as songwriter C.C. White who tries to create great songs for James Early and the Dreams only to get up in success and then become disillusioned by Curtis' view of music and its purpose. Anika Noni Rose is wonderful as Lorrell Robinson who is the glue of the group trying to keep the dreams together while falling for James and becomes his mistress as she is trying to figure out their relationship. Danny Glover is great as James' manager Marty who tries to help him make it and without any kind of seedy business moves like payola as he later becomes Effie's mentor as he tries to help revive her career. Beyonce Knowles is good and appropriately cast as Deena Jones who is known more for her beauty and pop-like voice as a woman who is trying to find her true identity. Knowles is good when she's singing though her work as a dramatic actress is a bit spotty. She's engaging but lacks the depth in being very dramatic.

Eddie Murphy is in excellent form as the James Brown-inspired James "Thunder" Early who is filled with charm and wit about being an original and a star. Then when he is forced to become a commercial singer, he becomes frustrated turning to drug addiction while trying to reclaim his identity and stardom. Murphy's performance both acting wise and in musical performance is brilliant, even in his singing that is top-notch. Jamie Foxx is great as the sleazy, ambitious Curtis Taylor Jr. who wants to make in the business at any cost as he has a lot of charm and bravado in his role while doing an amazing rendition of When I First Saw You that proves Foxx's many talents. The film's best and breakthrough performance definitely goes to Jennifer Hudson as Effie White. Hudson manages to be both engaging and powerful as the big girl with an attitude who knows that all she can do is sing. Hudson is great and subtle in her dramatic acting while it's her work as a singer that is just divine

Dreamgirls is a phenomenal film from Bill Condon that features brilliant performances from Jamie Foxx, Jennifer Hudson, Eddie Murphy, and Danny Glover. It's a film that manages to be more than just an entertaining musical but also a compelling piece into the cynical world of the music industry. It's also a film about control and how those become compromised as they want to find their own voice in the world. In the end, Dreamgirls is a remarkable film from Bill Condon.

© thevoid99 2015

Interstellar

Directed by Christopher Nolan and written by Christopher and Jonathan Nolan, Interstellar is the story of an engineer who takes part into an interstellar mission to find a habitable planet through wormholes in the hopes he can save humanity including the children he’s leaving behind. The film is an exploration into the world of outer space and the world beyond where a man joins a space crew to find salvation just as Earth is in ruins. Starring Matthew McConaughey, Anne Hathaway, Jessica Chastain, Casey Affleck, Wes Bentley, and Michael Caine. Interstellar is a grand yet exhilarating film from Christopher Nolan.

Set in a world where planet Earth is being destroyed by dustbowls and are forced to live on whatever agricultural resources they have, the film is about an engineer who is asked to go to outer space to find a habitable planets through a wormhole as he is forced to leave his children behind. Through this mission, Cooper (Matthew McConaughey) tries to find a world in the hopes to save humanity but things become complicated as time becomes sparse due to time dilation. Back on Earth, Cooper’s daughter Murph (Jessica Chastain) tries to finish a theory left behind by Professor Brand (Michael Caine) in the hope that her father comes back. It’s a film that plays into ideas of theory of relativity as well as a man trying to do whatever to save humanity and return home to his family.

The film’s screenplay by Christopher and Jonathan Nolan doesn’t just explore the concept of interstellar travel where time becomes very complex where an hour spent in a planet can actually take years on Earth or any part of the galaxy. It adds to the dramatic aspect of the story and Cooper’s desire to hoping to come home and make a difference as his absence made it hard for his daughter to deal with. Even as Murph as she gets older becomes resentful while wondering if there was any kind of hope to the mission at hand. There’s also a sense of desperation that occurs between Cooper and Brand’s daughter Amelia (Anne Hathaway) who is part of the mission as she is trying all she can to make sure they succeed but complications ensue where their encounters with a planet to retrieve data from previous missions begin to fall apart.

While the script does have a traditional structure where its first act is set on Earth as Cooper tries to uncover a series of mysterious messages he found with a younger Murph (Mackenzie Foy) that lead him to be contacted by Professor Brand. Yet, what Cooper is asked to do by Brand would be a hard decision to make as it would hurt him to leave Murph and his son Tom (Timothee Chalamet) as the film’s second act is about Cooper’s mission in space with Amelia and two other astronauts in Romilly (David Gyasi) and Doyle (Wes Bentley) where it takes them two years to travel from Earth to the wormhole near Saturn. Then comes this third act where it crisscross the narratives of both Cooper and the adult Murph where the latter tries to finish Brand’s theory as well as figure out the codes that she encountered as a child. Especially as they both have to deal with forces that would prevent a reunion between father and daughter from happening.

Christopher Nolan’s direction is definitely astonishing in terms of the visual scope that he presents. Shot in this 2:35:1 aspect ratio in 35mm film, which is also blown up for 70mm, as it has this grand look in terms of scale for the scenes not just set in outer space but also in some of the planets the characters are in. Some of it is shot in Iceland while scenes set on Earth are shot in Alberta, Canada as it plays into something that feels like a Midwest film that are shot very naturally while the scenes on these mysterious planets have something that feels very alien-like. The usage of wide shots with some crane cameras and other shooting styles add to the massive scope of the film that includes this sequence in these strange mountain-like locations where it adds to a sense of mystique about what might be out there.

Still, it is a film about a father and a daughter trying to reunite as the former is trying to find some kind of hope where it feels like a few years for him but it’s much longer than that on Earth. The complexity of the film’s narrative and sense of time is very prevalent which does add to some of the exposition that occurs on film though it does get overwhelming at times. Even in its third act where there is a sense of conventional drama that occurs as it does take away some of the unconventional aspects of the film that was working though there is a payoff that is satisfying which plays to the emotional crux of the film. Overall, Nolan creates a very rapturous yet evocative film about a man going to outer space to save his daughter and humanity in the hopes to find a new world.

Cinematographer Hoyte van Hoytema does brilliant work with the film‘s cinematography from the naturalistic look of the farmland locations in Canada to the array of lights and shading for much of the film‘s interior setting including the shots set in outer space. Editor Lee Smith does amazing work in creating some very straightforward cuts for the drama while going for unique rhythms in the space travels including the wormhole sequence along with some intense moments in the film. Production designer Nathan Crowley, with set decorator Gary Fettis and supervising art director Dean Wolcott, does excellent work with the design of the space ships Cooper and his team travel in as well as the robots they‘re accompanied with along with the NASA base that Professor Brand would work at.

Costume designer Mary Zophres does nice work with the costumes from the casual look of the characters on Earth to the design of the astronaut suits. Visual effects supervisor Paul Franklin does fantastic work with the visual effects for some of the scenes set in outer space to the movement of the robots plus some set-dressing for some of the planets. Sound editor Richard King does superb work with the sound to convey the sense of silence of exterior scenes in space as well as the sounds of rockets and some of the locations in its surroundings. The film’s music by Hans Zimmer is incredible for its mixture of soaring orchestral textures mixed in with minimalist electronic music to play into the sense of mystique that is prevalent in the film.

The casting by John Papisdera is phenomenal as it features some notable small roles from David Oyelowo as Murph’s school principal, William Devane as a NASA official, Matt Damon as a scientist who been part of an earlier mission, Topher Grace as a doctor friend of Murph, Leah Cairns as Tom’s wife, Liam Dickinson as Tom’s son Coop, Timothee Chalamet as the young Tom, and John Lithgow in a terrific role as Cooper’s father-in-law Donald who says some of the film’s funniest lines. Voice performances from Josh Stewart as CASE and Bill Irwin as TARS are excellent as they bring some soul to the machine as these robots that help the team in space with the latter being the most humorous. Casey Affleck is superb as Murph’s older brother Casey who also misses his father as he tries to cope with loss and saving the family farm.

Wes Bentley is wonderful as the geographer Doyle who tries to understand the wormholes and planets while David Gyasi is fantastic as the physicist Romilly who tries to understand the idea of space and time itself. Michael Caine is great as Professor Brand as a scientist who tries to prove a theory about how to save Earth as he copes with trying to do what is right as well as deal with the implications. In the roles of Murph, there’s Mackenzie Foy in a great performance as the young Murph who tries to cope with her father’s departure while Jessica Chastain is amazing as the older Murph as a woman filled with resentment as she tries to finish Professor Brand’s theory. In the brief role of the eldest Murph, Ellen Burstyn is brilliant in telling the story of what it was like in the dustbowl to explain the severity of the mission.

Anne Hathaway is incredible as Amelia Brand as a fellow astronaut who tries to keep things going while dealing with her own emotional baggage as tries to make sense of the stakes of the mission. Finally, there’s Matthew McConaughey in a magnificent performance as Cooper as this former pilot turned engineer who takes on a mission to space in the hopes that his family can survive beyond the dustbowl as he struggles with his own emotional baggage as well as the mission at hand.

Interstellar is a sensational film from Christopher Nolan. Armed with a great ensemble cast led by Matthew McConaughey as well as intriguing concepts about space, interstellar travel, and theories of relativity and time. It’s a film that is sci-fi at its most complex with some astonishing visuals that is backed up with a powerful story of a man trying to bring a future of hope for his children. In the end, Interstellar is a remarkable film from Christopher Nolan.

Christopher Nolan Films: Following - Memento - Insomnia - Batman Begins - The Prestige - The Dark Knight - Inception - The Dark Knight Rises - Dunkirk - The Auteurs #13: Christopher Nolan

© thevoid99 2014

Rise of the Planet of the Apes

Directed by Rupert Wyatt and written by Rick Jaffa and Amanda Silver, Rise of the Planet of the Apes is an origin story of how a scientist took care of an ape named Caesar and was then forced to be taken by cruel caretakers leading to a revolt with help from other apes. Based on the original Planet of the Apes novel by Pierre Boulle, the film explores Caesar’s development from a normal ape into a leader. Starring James Franco, Freida Pinto, John Lithgow, Brian Cox, Tom Felton, David Oyelowo, and Andy Serkis as Caesar. Rise of the Planet of the Apes is an exciting and thrilling film from Rupert Wyatt.

In hopes to find a cure for Alzheimer’s disease, scientist Will Rodham (James Franco) believes that he’s made a breakthrough from an ape he had been experimenting on. After telling his boss Steven Jacobs (David Oyelowo) about his breakthrough, Will presents it to a board which becomes a disaster after the ape he experimented has broke out of her cell due to a misunderstanding. With Jacobs deciding to have the apes killed, Will learns through fellow scientist Franklin (Tyler Labine) about a baby ape that Will’s ape was trying to protect. Will takes the baby home where they would live with Will’s father Charles (John Lithgow) who is suffering from Alzheimer’s.

Amazed by the ape’s growing intelligence, Will calls the ape Caesar as he believes that Caesar is the key to the cure he’s searching for to help his father. After meeting primatologist Caroline (Freida Pinto) to help treat an injury for Caesar, she becomes part of the family where Charles’ condition seems to improve for a few years. Yet, Caesar starts to feel like he’s treated like a pet as Will reveals the truth about his background and why he took him in. When Charles starts to fall ill due to dementia, an incident involving Charles and a neighbor (David Hewlett) has Caesar fighting the neighbor to protect Charles. Due to the incident, authorities force Will and Caroline to put Caesar to an animal shelter that is run by the cruel John Landon (Brian Cox) and his vicious son Dodge (Tom Felton).

While Will reluctantly returns to work to find a cure only to feel compromised by Jacobs over the testing of apes. Back at the shelter, Caesar is befriended by fellow apes including a circus orangutan named Maurice (Karin Konoval), Rocket (Terry Notary), and a big gorilla named Buck (Richard Ridings) as they organize a revolt. When Will learns that Jacobs’ new version of the drug is flawed and fatal to humans, he quits as he tries to get Caesar back. Instead, Caesar chooses to stay as he briefly leaves the shelter to help find ways to make his fellow apes smarter as they lead an attack on the Landons and those that oppose them to Will’s horror.

The film is an origin story with a lot of references to the 1968 film which included the famous line “Get your hands off me you damn dirty ape”. Yet, it does create a lot of ideas of how the Earth was taken over by the apes as well as more ideas over what happened to the humans. Still, it’s a film about a man’s relationship with this little chimpanzee he would call Caesar and how he would shape this chimpanzee’s outlook on life and later play part in his revolt against humanity. Though the Will Rodham character is a flawed man that just wants to save his father’s life, he does care for Caesar and treats him more than just an animal. The script that Rick Jaffa and Amanda Silver works in creating that relationship arc and basing the ideas for what would come in the stories that are previously told though there are flaws in the script. The Caroline character is sort of a one-dimensional figure who just plays the girlfriend while antagonists like the Landons don’t have much to do other than be mean to Caesar.

Rupert Wyatt’s direction is quite extraordinary with its presentation as he does more than just make a typical summer blockbuster action film that is loaded with CGI-effects. Since the apes are performed by actors in motion-capture visual effects, it adds a certain realness to the way the apes are presented not just physically but emotionally. Notably in their interactions to humans and some of the big action sequences in its third act. Wyatt does create some amazing tracking shots for some of the cage hallways in the shelter along with wonderful steadicam camera shots for some of Caesar’s movements around Will’s home. Overall, Wyatt creates a truly exhilarating and fun action film with a bit of drama and lots of energy.

Cinematographer Andrew Lesnie does an excellent job with the film‘s stylish cinematography from the naturalistic, lush look of the redwood forest scenes at Muir Woods National Monument along with darker lighting schemes for some of the nighttime interiors at the shelter. Editors Conrad Buff IV and Mark Goldblatt is pretty good for the fast-paced rhythm of the action scenes while utilizing montages for some of Caesar‘s growing development and slower cuts for the dramatic moments. Production designer Claude Pare, with set decorator Elizabeth Wilcox and supervising art director Helen Jarvis, does incredible work with the set pieces from Caesar’s room in Will’s home along with the building Will works at and the play room at the shelter where Caesar leads his revolt.

Costume designer Renee April does nice work in the costumes as the close are mostly casual including a red shirt worn by Caesar. Visual effects supervisors Dan Lemmon and Erik Winquist do a spectacular job with the visual effects for the way the apes look along with some of the action sequences that happen as it is truly the film‘s highlight in terms of its technical field. Sound designer Chuck Michael and sound editor John A. Larsen do some fantastic work in the sound work from the stark yet hollow world of the shelter to the more raucous bombast of the action scenes that occur in the film. The film’s score by Patrick Doyle is superb for playing up to the bombast with loud percussions and soaring string arrangements while going for a more low-key approach in the dramatic portions of the film.

The casting by Debra Zane is remarkable for the ensemble that is created as it features notable small roles from Tyler Labine as Will’s lab friend Franklin, Jamie Harris as a shelter caretaker, and David Hewlett as Will’s hot-headed neighbor Hunsiker. Brian Cox is very good as the slimy animal shelter head John Landon while Tom Felton is also good, despite being one-dimensional, as the crueler Dodge Landon. David Oyelowo is stellar as Will’s boss Jacobs who becomes consumed with greed as he uses Will for his own financial gain. Freida Pinto is decent as the very caring Caroline although she doesn’t get much to do than just be the supportive girlfriend. John Lithgow is excellent as Will’s ailing father Charles who becomes fond of Caesar while dealing with his own disease.

James Franco gives a terrific performance as Will Rodham by displaying a man that just wants to help his father while forming his own bond with Caesar as he tries to help the chimpanzee in his ordeal. The performances by Karin Konoval, Richard Ridings, Christopher Gordon, and Terry Notary as the apes Caesar befriend are superb for the physicality and emotional expressions they give to those apes making them more than just CGI-creations. Yet, the best work in that field as well as the best performance in the film is Andy Serkis as Caesar. In the way he expresses the varied emotions as well as Caesar’s physicality, Serkis does something that goes beyond the parameters of what a motion-capture performance can do. Notably as Serkis gets Caesar to speak a few words in the film’s climatic revolt to exemplify Caesar’s growth in intelligence as it’s definitely a performance like no other.

Rise of the Planet of the Apes is a marvelous and entertaining action-blockbuster film from Rupert Wyatt that features an outstanding performance from Andy Serkis. This is a film that gives the Planet of the Apes franchise a much-needed boost after being away from theaters for so long as well as very misguided remake back in 2001. For fans of action-blockbusters, this film is among one of the best that offers more than just entertainment. In the end, Rise of the Planet of the Apes is an engaging yet pleasurable film from Rupert Wyatt.

Related: Dawn of the Planet of the Apes - War for the Planet of the Apes

© thevoid99 2012

2011 Cannes Marathon: All That Jazz

(Co-Winner of the Palme D’or w/ Kagemusha at the 1980 Cannes Film Festival)

While Bob Fosse’s name is synonymous with dance and theater, his work as a film director has been one of the most celebrated in his prolific career. With musicals such as Sweet Charity and Cabaret, Fosse moved away from the musical with 1974’s Lenny about the controversial comedian Lenny Bruce. In 1979, Fosse would make a semi-biographical picture that mixed the dazzling musicals he’s known for with a gritty outlook on life entitled All That Jazz.

Directed by Bob Fosse with a script co-written with Robert Alan Arthur, All That Jazz follows a choreographer/film director whose workaholic lifestyle is spinning out of control. Struggling to get a new musical play going and finishing a film, he is visited by an angel of death as his health begins to take a toll. Based on Fosse’s own life, the film is a study of creativity and the toll it takes on its creator. Starring Roy Scheider, Jessica Lange, Leland Palmer, Ann Reinking, John Lithgow, and Ben Vereen. All That Jazz is spectacular yet hypnotic musical-drama from the late Bob Fosse.

Joe Gideon (Roy Scheider) is a brilliant artist who is known for making great Broadway shows and movies that he’s directed. Yet, Joe’s life is going out of control as he is trying to work on a new musical while finishing up a film about a standup comedian that is still in its rough cut. Every day, Joe chain-smokes and pops up various pills to get himself going as he’s under numerous deadlines while often forgetting to do other things in his life like spending time with his daughter Michelle (Erzsebet Foldi) much to the ire of his ex-wife Audrey (Leland Palmer). Joe also spends his time sleeping with other women much to the dismay of his girlfriend Katie (Ann Reinking).

Joe’s workaholic schedule is starting to take his toll as he’s imagining talking to an angel of death named Angelique (Jessica Lange) about his life and the fact that he a schmuck. With Joe trying to find ideas for his show while being under pressure from collaborators and backers including Jonesy Hecht (William LeMassena) trying to get him to finish. Thanks to some prodding from Audrey, Joe gets an inspiration for his show though it would alienate his backers as he continues to work on his varied projects where it would finally take a toll on his health. After finally suffering chest pains, Joe is sent to the hospital as a cardiologist (Michael Tolan) suggests that Joe should relax.

Instead, Joe continues to play with death in his ways at the hospital while learning about the reviews over his film which he knew wasn’t finished. While Jonesy and other financiers try to figure out how to salvage the show with its expensive production by even turning to another Broadway director in Lucas Sergeant (John Lithgow). Joe starts to realize his own faults as his perception of reality is blurred through his own imagination featuring the people in his life as he starts to face his own mortality.

While the film is based partially on Bob Fosse’s own life at the time he was trying to finish his 1974 film Lenny, some of it is definitely inspired by the works of Federico Fellini. Particularly 8 ½ which was about a film director’s life that is unraveling by his writer’s block and the women in his life. In this film, it’s about a man whose lifestyle and antics finally takes a toll on him in a lot of ways. His personal life is becoming messy due to his womanizing while professionally, he is uninspired and having a hard time getting or finishing projects. This would eventually lead to him facing mortality in the guise of a beautiful angel who would have him see parts of his own life.

The character of Joe Gideon is essentially a scumbag and he knows it. He doesn’t spend a lot of time with his daughter though doesn’t mean to hurt her. He sleeps around with other women much to the chagrin of his ex-wife Audrey and current girlfriend Katie. He likes to flirt around with death by drinking, chain-smoking, pill-popping, and fucking every piece of ass out there as if it was his last day. Yet, he knows that he couldn’t help himself in doing these things as a way to cope with his own work as he is his own worst critic. He wants to do something great but has a hard time trying to please himself and others. The fact that he’s taking much longer to finish a film because of a long monologue that he’s cut over and over again.

The script that Fosse and Robert Alan Arthur create is an intriguing study on art and how artists tend to suffer for their work literally. Yet, it’s also about how the world of Broadway works as there’s a bit of a subplot when Joe’s financiers try to salvage the play they’re working by figuring out how to make money if things go bad while getting another director involved. Fosse and Arthur’s dialogue is phenomenal for its humor as well as the way characters respond to each other and their actions.

Fosse’s direction is truly magnificent in its ambition and presentation by creating a film that is gritty and stylish. For many of the musical sequences that is early in the film, he shoots it on location in the stages or rehearsal halls. Yet, there is something very real to the look and the rough presentation as he allows the staging of these numbers to make it seem intense with sweat dripping on the dancers, musicians, and Joe himself. At the same time, he doesn’t sugarcoat anything that is happening when people are rehearsing as the scene where Joe is looking for dancers. What he shows is everything from people are on time and have rhythm to the lone dancer who is lost in the shuffle knowing he or she won’t make it.

Fosse’s look of the fantasy sequences is truly mystical in the way it plays off to Joe’s messy head as it’s filled with decayed objects and such along with memories including a young Joe (Keith Gordon) dancing around. One of the film’s great moments is a montage of images that play up to the way Joe opens his day to the music of Antonio Vivaldi’s Concerto in G as it always feature Joe saying “It’s show time folks”. If Fosse’s staging of the musical and smaller dramatic moments are wonderful, it’s also the way he frames those scenes where he definitely gets a wide depth of field of what is happening along with allowing the camera to soak in the atmosphere. Using tracking shots and steady hand-held work to allow Joe to be followed along with the intensity of the dance numbers that is choreographed by Fosse himself. The overall work in Fosse’s direction is mesmerizing and masterful as he creates what is truly an engaging yet entertaining film.

Cinematographer Giuseppe Rotunno does a phenomenal job with the film‘s photography in bringing a sense of realism with atmospheric lighting to some of the rehearsal scenes. In the fantasy sequences, Rotunno goes for that same kind of grit along with a ghostly look as the film while the dance sequences late in the film are filled with dazzling lights that brings a lush yet seductive look to Rotunno’s camera. Editor Alan Heim does a superb job with the editing in not just creating amazing rhythmic montages to Joe’s daily routine but also to the dance numbers and dramatic moments in the film. Heim’s work is really the technical highlight of the film for the way he plays off Joe’s intense lifestyle with its frantic cutting as well as playing to the repetition of Joe’s day that includes a slow half-frame speed.

Production designer Philip Rosenberg, along with set decorators Gary J. Brink and Edward Stewart, does an amazing job with the art direction in the creation of the fantasy sequences from the decayed look of Joe‘s world with Angelique to the dazzling stage setting for the many of the film‘s dance sequences in the latter part of the film. Costume designer Albert Wolsky does a great job with the costumes from the all-black clothes that Joe wears to the lush dress that Angelique wears along with the fantasy dance sequences in the film. Makeup artist Fern Buchner does a nice job with the make-up for some of the dance fantasy sequences that play up to the Felliniesque elements of the film.

Sound editor Maurice Schell does a fantastic job with the sound work to capture the feet on the floor to the atmosphere of rehearsals and the meetings. Notably a scene where Joe is in a meeting with all of these people and all he can hear are sparse sounds as it’s one of the highlights of the film. The music by Ralph Burns is superb for its creation of some amazing music pieces that are played for the film including rehearsal music and stuff that’s made up in the scene. The soundtrack includes Antonio Vivaldi’s Concerto in G plus George Benson’s On Broadway and a snazzy cover of Bye Bye Love sung by Ben Vereen. The soundtrack is another of the film’s highlights as it’s an important part of the film.

The casting by Howard Feuer and Jeremy Ritzer is brilliant for its large ensemble that features early appearances by actors who would go on to bigger things such as Sandahl Bergman as a principal dancer, C.C.H. Pounder as a nurse, Wallace Shawn as an accountant, Keith Gordon as the young Joe Gideon, David Margulies as a financier, and John Lithgow as a rival Broadway director. Other notable small roles include Ben Vereen as a singer whom Joe likes to watch, Deborah Geffner as a dancer Joe sleeps with, Cliff Gorman as the actor in Joe’s standup comedy film, Michael Tolan as the cardiologist, and William LeMassena as a financier who tries to help Joe with his play while protecting his investment.

Erzsebet Foldi is great as Joe’s teenaged daughter Michelle who adores her father despite his absence as she always try to get him to slow down while has a few great dance numbers including one with Ann Reinking at an apartment as it’s a fun performance to watch. Ann Reinking is excellent as Joe’s girlfriend Katie, a woman who has a hard time dealing with Joe’s womanizing while trying to ground him. Leland Palmer is superb as Audrey, Joe’s ex-wife and Michelle’s mother who is also a former dancer as she tries to pull him back to real life while dealing with his workaholic persona. Jessica Lange is wonderful as Angelique, an angel of death who is a seductive woman but also quite terse in how she makes Joe confess his own faults.

Finally, there’s the late Roy Scheider as Joe Gideon in what is his best performance of his career. Scheider brings a sense of charm and weariness to a character that is at times, a schmuck but also knows the fact that he is a schmuck. Yet, Scheider makes Joe Gideon into a fascinating figure who is willing to do great things for his art while is willing to accept criticism knowing that the critics could be right. It’s a very fearless yet entertaining performance from the great actor.

All That Jazz is a brilliant yet entertaining musical from Bob Fosse featuring a remarkable performance from Roy Scheider. Featuring great supporting work from Jessica Lange, Leland Palmer, and Ann Reinking, it is definitely one of the best musicals that strays away from the idea of what a musical is. Even as Fosse makes it personal and engaging as it’s one of his greatest films in his short filmmaking career. In the end, All That Jazz is a marvelous film from the late, great Bob Fosse.

Bob Fosse Films: Sweet Charity - Cabaret - Liza with a Z - Lenny - Star 80 - The Auteurs #56: Bob Fosse

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