Love & Friendship

Based on the novella Lady Susan by Jane Austen, Love & Friendship is the story of a scandalized widow who seeks refuge at the home of her brother-in-law where she hopes to find a husband for herself and her daughter. Written for the screen and directed by Whit Stillman, the film is a period drama set in the late 18th Century where it plays into a woman is trying to redeem her name and provide a future for her daughter. Starring Kate Beckinsale, Xavier Samuel, Emma Greenwell, Morfydd Clark, Jemma Redgrave, Tom Bennett, Justin Edwards, Jenn Murray, Stephen Fry, and Chloe Sevigny. Love & Friendship is a witty and delightful film from Whit Stillman.

Set in 1790 Britain, the film revolves a recently-widowed woman whose scandalous past has come back to haunt her as she moves in with her brother-in-law where she falls for her sister-in-law’s brother. When her daughter has been kicked out of school, complications emerges when she falls for the same man her mother is courting while evading the affections of a dim-witted suitor. It’s a film that isn’t just about some of the complications of love but also a woman’s attempt to maintain her social status despite her illustrious past as a flirt where she’s not even allowed to talk to one of her best friends publicly as they would talk privately or correspond secretly through letters.

Whit Stillman’s screenplay isn’t just an exploration of social climbing, reputation, and survival but also a woman trying to ensure her daughter’s security despite their own personality differences. Yet, Lady Susan Vernon (Kate Beckinsale) is a woman that has become accustomed to a lifestyle and wants to keep it no matter what it takes. Sure, Lady Vernon is manipulative and is willing to scheme but it is all about the nature of the game she has to play to survive despite the notoriety she’s attained in the past as she is a bit indifferent of what people think of her. Still, she has to think about her teenage daughter Frederica (Morfydd Clark) who is asked to marry this young buffoon in Sir James Martin (Tom Bennett). Upon meeting her sister-in-law’s brother Reginald DeCourcy (Xavier Samuel), Lady Vernon sees him as a prospective husband but things complicated when Federica falls for him as well.

It’s not just in the plot scenarios and schematics where Stillman explores what Lady Vernon is doing but it is also in the dialogue. Stillman’s dialogue is very stylized in not just playing to the times but also in the rhythm and tone that is true to writings of Jane Austen. It has a language that is unique but also a feel that manages to play off into much of the humor. Even in some the dramatic moments as it play into the anguish in Frederica as well as some of the conversations Lady Vernon has with her American friend Alicia Johnson (Chloe Sevigny) who understands her friend’s plight. While she doesn’t agree with Lady Vernon’s tactics, she does understand the need to survive as she is married to a prestigious businessman in Mr. Johnson (Stephen Fry). Yet, if he finds out that his wife is talking to Lady Vernon. He will take her back to America where she is seen as a traitor for supporting the British during the American Revolution as it’s one of these tidbits in the script that makes it so fun to follow.

Stillman’s direction definitely owes a lot to style in not just the way it plays into costume period dramas but give it a sense of irreverent humor. From the way the characters are introduced to how elements of poetry and letters are being read with text presented on screen. Shot entirely on location in Ireland, the film does play into the look of the period with its usage of wide and medium shots to capture the location while the latter would also provide a sense of intimacy in the dramatic elements along with its usage of close-ups. Much of the composition relies more on a sense of control with its steadicams to follow the actors walking into a room or at a court inside the house. It all plays into this world where it is about behaviors and prestige where Stillman says a lot of what is going on in that world where everyone of importance has to present themselves in a certain way. At home, they can be themselves no matter how bad they are.

There is no question that Lady Vernon is a despicable character but she isn’t totally un-likeable as Stillman wants to maintain that sense of what she is doing. Especially as it relates to his own fascination of the upper-class world and what people are willing to do to maintain a lifestyle that not many people are accustomed to. Stillman doesn’t try to over-dramatize things with the exception of one key character who is presented as a form of humor. It is all about the role that women played in society and what they had to do to survive in an upper-class world. Even as they have to contend with morals and the rules where this one woman does what she have to do while not being afraid to break a few rules in the process. Overall, Stillman creates an engaging and exhilarating comedy about a woman’s search to find husbands for herself and her daughter through devious means.

Cinematographer Richard Van Oosterhout does excellent work with the film‘s cinematography from the differing look of the exteriors to play into a mood for the film as well as some of the interiors with its low-key approach to lighting as well as how the sun is placed against the windows. Editor Sophie Corra does terrific work with the editing as it largely straightforward to play into some of its humor through its rhythmic cuts as well as for some of the dramatic moments. Production designer Anna Rackard, with art directors Louise Mathews and Bryan Tormey and set decorator/carpenter Stuart Crinnion, does brilliant work with the look of the many interiors in the homes and estates that the characters live in as well as the apartment that Lady Vernon would live in London for the film‘s second half. Costume designer Eimer Ni Mhaoldomhnaigh does amazing work with the costumes from the lavish look of the dresses the women wear including the hats as well as the clothes that the men wore in those times.

Hair designers Eileen Buggy and Rod Ortega, with makeup designer Margot Boccia, do fantastic work with the design of the hairstyle of the women with the latter doing the work for the look of Lady Vernon. Visual effects supervisors Danielle Kempen and Hans van Helden do nice work with the minimal visual effects where it is really bits of set dressing as well as displaying the text that is read by characters onscreen. Sound editor Ranko Paukovic does superb work with the sound with way some of the action is heard in another room along with the lively moments in a party scene where Sir James is dancing like an idiot. The film’s music consists largely from traditional and classical pieces from the period of the time as well as variations of original music by Benjamin Esdraffo and Mark Suozzo with the latter doing much of the music supervision in selecting various classical and operatic pieces that are played in the film.

The casting by Kerry Barden, Colin Jones, and Paul Schnee is phenomenal for the large ensemble that it displays as it include some notable small roles from Kelly Cross as Lady Vernon’s traveling companion Mrs. Cross in the film’s first act, Conor Lambert as the DeCourcy family butler, Sylvie Benoiton and Daniel Magee as the children of Charles and Catherine Vernon, Lochlann O’Mearain as Lord Manwaring, Sophie Radermacher as Lord Manwaring’s young daughter, and Justin Edwards as Lady Vernon’s brother-in-law Charles Vernon who offers her a temporary place to stay as well as deal with several family issues. Stephen Fry is superb in his small role as Mr. Johnson as Alicia’s husband who disproves her friendship with Lady Vernon while attending to the emotional needs of Lady Manwaring in a very comical manner. Jenn Murray is wonderful as Lady Lucy Manwaring as this emotional drama queen who hates Lady Vernon as she accuses her of seeing her husband.

James Fleet and Jemma Redgrave are excellent in their respective roles as Sir Reginald and Lady DeCourcy as Catherine and Reginald’s parents who are concerned with Lady Vernon’s presence while taking in Frederica whom they cherish. Chloe Sevigny is fantastic as Alicia Johnson as an American exile who is Lady Vernon’s best friend as she helps her despite being told by her husband not to as Sevigny displays a lot of charm and flair to her character. Emma Greenwell is amazing as Catherine DeCourcy Vernon as Charles’ wife who also takes in Lady Vernon as well as taking a liking towards Frederica while admitting to having her own qualms about Lady Vernon. Morfydd Clark is brilliant as Lady Vernon’s daughter Frederica as this shy and troubled young girl who has gotten kicked out of school as well as not wanting to get married where Clark displays an anguish as well as an innocence to this young woman who finds herself falling in love.

Tom Bennett is hilarious as Sir James Martin as a young man who wants to marry Frederica as he is just this loveable buffoon who says very idiotic things while believing there’s twelve commandments instead of ten as he is just fun to watch. Xavier Samuel is remarkable as Reginald DeCourcy as this young man who becomes attracted to Lady Vernon as he finds her interesting while also becoming drawn by Frederica. Finally, there’s Kate Beckinsale in an incredible performance as Lady Susan Vernon as she exudes charm and wit into her character while not being afraid of being despicable but in a loveable way as Beckinsale just gives the performance of her career.

Love & Friendship is a sensational film from Whit Stillman that features a delightful performance from Kate Beckinsale. Featuring a great supporting cast, lovely visuals, gorgeous costumes, and a fantastic score. It’s a film that explores the world of Jane Austen with a sense of irreverent humor and a study of social climbing as well as what women had to do to survive in a world where there’s a lot of expectations in the upper class. In the end, Love & Friendship is a tremendously rich film from Whit Stillman.

Whit Stillman Films: Metropolitan - Barcelona - The Last Days of Disco - Damsels in Distress - The Auteurs #21: Whit Stillman

© thevoid99 2016

The Last Days of Disco

Written and directed by Whit Stillman, The Last Days of Disco is the story about two college graduates who work at a publishing house by day as they go to disco clubs in the early 1980s in its waning days trying to find love and fun. The film is about a period in time where things are changing as two women try to spend as much time in a nightclub soaking in these final days while facing the uncertainty of their future. Starring Chloe Sevigny, Kate Beckinsale, Chris Eigeman, Mackenzie Astin, Matt Keeslar, Matt Ross, Tara Subkoff, Jennifer Beals, and Robert Sean Leonard. The Last Days of Disco is an extraordinary comedy-drama from Whit Stillman.

The era of the disco craze was a place where many people get the chance to go to nightclubs, have a few drinks, and dance to some good music. While there were also dangerous elements of cocaine and promiscuous sex involved, it was a period in time that at least got people together to have fun. For two young post-graduates in Alice (Chloe Sevigny) and Charlotte (Kate Beckinsale), they go to a lavish nightclub as regulars just to have a good time as a way to escape the dreariness of everyday life where they work at a publishing house. While the two women aren’t exactly best friends, they do move in together with another woman while dealing with ideas of falling in love, dealing with the future, and the role of being a woman. Through the men they meet, they endure all sorts of challenges about what to expect in a man as the men themselves are also dealing with their own issues. Especially as the age of disco starts to go into a major decline forcing these two women to deal with the changes in their environment and in themselves.

Whit Stillman’s screenplay does play to themes that he’s known for as well as setting them transitional periods of time. While the film is set in the early 80s during disco’s decline, the script is structured to play out this period of decline where the first half is about the good times in the age of disco while its second half is about its inevitable fallout due to drugs, sexual promiscuity, and other big things. Particularly as it revolves on several characters in the film aside from Alice and Charlotte. Notably the men such as one of the club’s managers in Des (Chris Eigeman), an advertising executive in Jimmy (Mackenzie Astin), and an assistant D.A. in Josh (Matt Keeslar) as they are all part of the group that Alice and Charlotte are in. While there’s a few extra people that are part of this group, they all discuss about their roles in life as well as how to advance in life.

While Alice and Charlotte are these young women who have ambition and go to nightclubs, they are very different women as far as personalities are concerned. Charlotte is very outgoing in the way she deals with thing as well as being extremely opinionated as well as the fact that she’s kind of a bitch. Alice is a more soft-spoken individual who has idealism of what she wants in a man but her encounters end up being very troubling. While she finds something in guys like Des, Jimmy, and Josh as well as their flaws, it does have her raise questions about what she wants in a relationship while Charlotte believes she knows more yet she ends up going through the same questions as Alice about what she wants. Things do get more serious in the third act where the men in these women’s lives deal with not just themselves but also what they want just as the nightclub they all hang out is starting to close.

Stillman’s direction is very fascinating for not just the way the whole world of disco is presented but also the way he presents this rise of the world of the yuppies. There is a clash of these two very different cultures that each represents a different period in time yet Stillman is more interested in the people who are living in this transition of time. Stillman’s approach to framing is quite straightforward but still engaging in the way the characters are seen as well as how they conduct their lives. There is still humor that is present in these conversations as well as some of the action that occurs while it is mostly low-key and dramatic. Particularly as it plays to what these men are going through as Jimmy is trying to advance in the advertising world though he is considered to be a pariah at the club. The club manager Des is someone who is going through a sexual identity crisis while trying to help manage a club that is being targeted by the IRS and the NYPD.

The direction is also very playful while playing with the idea of anachronisms where Stillman uses footage of the infamous Disco Demolition Night in Chicago as well as raid in Studio 54. One aspect in playing with the anachronisms that does help with the film’s plot is the fact that there’s characters from Stillman’s previous films that appear who will help impact the fate of a few characters. Still, there is this build-up to the end where it involves lots of authority figures trying to close down this club that causes a lot of conflict for Josh. Even as it plays to some very dramatic moments about how he’s feeling for Alice as well as the fact that he’s kind of a friend for Des. The film’s ending is about the end of disco but is it really an end? There’s a great monologue that Stillman writes about disco’s demise that really plays true to not just about that period of time but also what it meant to people. Overall, Stillman creates a very rich and wonderfully smart comedy-drama about changing times and identity.

Cinematographer John Thomas does excellent work with the cinematography from the lighting presentation for many of the nightclub scenes to the more straightforward exterior look of New York City. Editors Andrew Hafitz and Jay Pires do fantastic work with the editing by utilizing rhythmic cuts to capture the tone of the conversations as well as some of the scenes in the clubs. Production designer Ginger Tougas does brilliant work with the look of the club many of the characters hang out at as well as the apartment that Alice and Charlotte live in. Costume designer Sarah Edwards does amazing work with the costumes from the more casual, yuppie-like clothes many of the characters wear in the day to the more stylish dresses the women wear at the club.

Sound editor Paul Soucek does wonderful work with the sound to capture atmosphere of the nightclubs as well as the more quieter moments in the work place and at the apartment. The film’s music by Mark Suozzo is terrific as it‘s mostly a low-key orchestral score to play out some of the dramatic scenes or scenes in the office. Music supervisor Peter Afterman does a superb job in compiling a soundtrack filled with some amazing disco classics from artists like Chic, Diana Ross, the O’Jays, Andrea True Connection, Alicia Bridges, Blondie, Sister Sledge, and many others as well as some reggae in the mix and late 60s soul music.

The casting by Billy Hopkins, Suzanne Smith, and Kerry Barden is incredible as it features some appearances from Jaid Barrymore as a club-goer known as Tiger Lady, George Plimpton and Anthony Haden-Guest as a couple of famous club-goers, Mark McKinney as a bar waiter, Michael Weatherly as a client of Jimmy’s who gets into the club, David Thornton as the club owner, Edoardo Ballerini as a club manager, and Burr Steers as the club doorman Van. Other notable small roles features some very funny appearances from Stillman’s previous films such as Carolyn Farina, Taylor Nichols, Bryan Leder, and Dylan Hundley replaying their roles from Metropolitan while Nichols also plays the character he played in Barcelona that includes Debbon Ayer as that protagonist’s future ex-girlfriend. Jennifer Beals is wonderful as a lover of Des who feels slighted by him while Robert Sean Leonard is excellent as a one-night stand Alice was with who later treats her like dirt.

Matt Ross is terrific as Alice and Charlotte’s co-worker Dan who hangs out with them while creating some fascinating observations about the disco world. Tara Subkoff is very good as Alice and Charlotte’s roommate Holly who is a very nice girl that Dan later dates though she is someone who admittedly makes questionable dating choices. Mackenzie Astin is superb as the advertising executive Jimmy who is trying to get into the club to help his career while making some discoveries about the club’s business. Matt Keeslar is great as the assistant D.A. Josh who goes to the club to discover the world of disco while some of his discoveries put him into conflict over what he should do as well as his feelings for Alice.

Chris Eigeman is marvelous as the club manager Des who tries to keep the club in order while dealing with his own sexual identity as he ponders about whether he’s really into women or not as it’s a very witty performance from the Stillman regular. Kate Beckinsale is remarkable as the very outspoken Charlotte as a woman who is very lively and opinionated while often saying the wrong things at times as it is a very delightfully charming performance from Beckinsale. Finally, there’s Chloe Sevigny in a brilliant performance as Alice as a young woman who is unsure about what she wants while dealing with some of the pratfalls about love as well with a discovery that could make or break her career.

The Last Days of Disco is an outstanding film from Whit Stillman that features top-notch performances from Chloe Sevigny, Kate Beckinsale, and Chris Eigeman. Along with a very fun music soundtrack, the film is definitely an intriguing piece into the world of identity and changing times as well as a look into the last days of the disco culture. The film is also very accessible in the way it deals with people discussing big themes in a setting where a lot is happening where these people are eager to escape from that craziness. In the end, The Last Days of Disco is a fabulous film from Whit Stillman.

Whit Stillman Films: Metropolitan - Barcelona - Damsels in Distress - Love & Friendship - The Auteurs #21: Whit Stillman

© thevoid99 2013

Snow Angels

Originally Written and Posted at Epinions.com on 4/15/09.

With three acclaimed films to his credit by 2007, David Gordon Green is considered to be one of American cinema's most promising young directors. Since his 2000 landmark debut film George Washington, Green's dream-like yet harrowing portrait of life in the American South has earned him praised from critics, notably Roger Ebert. Compared in some respects to the legendary yet elusive Terrence Malick, Green followed up his debut with 2003's romantic-drama All the Real Girls and 2004's thriller Undertow in which the latter was co-produced by Malick. After an attempt to get an adaption of the legendary John Kennedy Toole classic novel A Confederacy of Dunces with help from Steven Soderbergh as one of the screenwriters failed to get off the ground. Green took a break to plan several projects before taking on an adaptation of Stewart O'Nan's small-town drama Snow Angels.

A multi-layered story about young teenager dealing with the disintegration of his parents marriage as well as a long-standing crush with a former babysitter who is currently having relationship problems with her ex-husband. When the woman and her ex-husband starts to boil over due to an affair, the young man suddenly finds himself falling for a quirky young high school girl as a small town begins to lose its innocence. Written for the screen and directed by David Gordon Green, Snow Angels marks as a huge departure for the director as he moves North to create an enchanting yet eerie tale of small town life that is close to his own small town world in the South. With an all-star cast that includes Sam Rockwell, Kate Beckinsale, Michael Angarano, Nicky Katt, Olivia Thirlby, Jeanetta Arnette, Amy Sedaris, Tom Noonan, and Griffin Dunne. Snow Angels is an enchanting yet harrowing drama from David Gordon Green.

Arthur Parkinson (Michael Angarano) is a high school teenager dealing with new changes in his life. His parents Don (Griffin Dunne) and Louise (Jeanetta Arnette) are splitting up as Arthur tries to cope with it with school work and marching band practice. Around the same time, Arthur works as a bus boy at a local Chinese restaurant with his former babysitter Annie (Kate Beckinsale) whom he's had a crush on. Annie is dealing with her own problems raising her four-year old daughter Tara (Gracie Hudson) by herself while her ex-husband Glenn (Sam Rockwell) has become a Born-again Christian and just landing a job selling carpets. Though Glenn does get to see Tara from time to time, he hopes to have Annie back in his life while maintaining his own sobriety. It's around the same time Arthur befriends a new student in the nerdy yet charismatic Lila (Olivia Thirlby).

With Glenn starting to get things in order, Annie has an affair with a cop named Nate (Nicky Katt) who is married to Annie's friend Barb (Amy Sedaris) who also works with her as a waitress at the Chinese restaurant. The affair becomes secretive for awhile until Glenn starts to suspect something as Barb also finds out. With Annie stressed out in her own life while trying to raise Tara, Glenn starts to confront Annie and Nate over this affair as trouble starts to brew. Arthur meanwhile, learns that his dad is seeing someone as he starts to get close with Lila whom he's becoming attracted to. Then one day, a sick Annie is at home with a cold when her daughter is suddenly gone. Turning to Barb for help, a whole town tries to find something. What happens would change things forcing Glenn to become insane while a distraught, angry Arthur leans closer towards Lila. Then comes a day when the lives of an entire town would change forever.

The film is about disconnection and connections into the lives of various individuals in a small, Northern town in America. While small-town life isn't new to what screenwriter/director David Gordon Green has explored. The location and setting is very different from his three previous films as he goes into the north during a winter season. While Green's script definitely delves into the lives of the three main individuals of Arthur, Glenn, and Annie. He does create a faithful version of Stewart O'Nan's novel though the story overall is uneven. While there's enough work that's put into the coming-of-age story of Arthur, it's overshadowed by the drama of Glenn and Annie which reaches tragic proportions. Yet, it's setting and study of characters is what definitely attracted Green to this story as he puts enough attention towards major characters and supporting ones as he delves into a small town setting.

Green's direction is truly majestic in its setting though the film is shot mostly in Canada. Green's rich compositions and dramatic staging is what keeps this film compelling as he goes deep into the drama but knows when to pull away. While there's not much humor, Green knows when to use it when it's necessary. The drama is more theatrical in its performance but Green knows when to have his actors not delve into melodrama or high theatrics. It's all restrained except in parts for high drama as he knows when to place his camera to capture all that is going on. Even in getting shots from a character's perspective or a scenery that is enchanting with shots of nature that is reminiscent of the work of his mentor Terrence Malick. Overall, Green's direction shows a maturity in the young director who takes some of his old tricks and refine them for better dramatic effect.

Green's longtime cinematographer Tim Orr does brilliant work with the usage of snow and sunlight for the film's exterior, daytime scenes. Orr's photography maintains the richness that Green wanted for the film as there's a beauty to the look of small town life. Even the nighttime exteriors are well shot with low-lights and an intimacy for the drama with a beautiful shot one of the film's final scenes involving falling snow and a football field. Orr's camera work in the interiors is intimate as in a couple of bar scenes, it's low-lit to emphasize the dark mood of one of its major characters. The overall work of Tim Orr is truly phenomenal as he's one of the best young cinematographers working in the field.

Editor William M. Anderson does excellent work with the film's stylish editing with the use of fade-outs, jump-cuts, and rhythmic cutting to create transitions that seems abrupt yet energetic for the story. Green's longtime production designer Richard A. Wright, along with set decorator Ian Greig and art director Terry Quennell, does some fine work with the look of the high schools, Annie's home, and other locations that has a nice, quaint small-town feel. Costume designer Kate Rose does good work with the costumes in creating casual clothing for the actors with Olivia Thirlby's Lila character standing out the most with a yellow coat and hat along with cat-like glasses to create a unique look for her. Sound editor Larry Blake does brilliant work with the sound in capturing the quaint feel of the small town with layering of noises as well as the sounds of instruments and such for the film. Notably its opening sequence with the thundering sounds that would set the film's dramatic tone in place.

Green's longtime music composer David Wingo along with Jeff McIlwain brings a quiet yet plaintive score with acoustic guitars and ambient textures to play to the film's somber, small-town feel. The soundtrack consists of material ranging from blues to country with songs by Gene Autry, Shane Hartman, Tony Berg, Josh Crocker, Benji Hughes, indie-rock stalwarts Explosions in the Sky, and a soft-rock song from Bread. Another song that is used for humor and dramatic effect is Peter Gabriel's Sledgehammer which is performed by a marching band.

The casting by Kerry Barden, Billy Hopkins, Paul Schnee, and Suzanne Smith is wonderfully assembled for its usage of big and small characters. Memorable small roles include Connor Paolo as Arthur's friend Warren, Deborah Allen as Annie's mom, Brian Downey and Carroll Godsman as Glenn's parents, Leah Ostry as Lila's sister, Daniel Lillford as Glenn's boss, Lita Llewellyn as a cop, Hugh Thompson as a police investigator, Angela Vemeir as Don's new girlfriend, and Tom Noonan in a funny role as the band leader. Gracie Hudson is good as Glenn and Annie's wild, energetic 4-year old girl Tara while Jeanetta Arnette is excellent as Arthur's mother Louise who is trying to deal with the split from her husband. Griffin Dunne is very good as Arthur's dad Don, a man confused about his role while trying to communicate with Arthur about the flaws of being a man.

Amy Sedaris is great as Barb, Annie's friend and co-worker who feels betrayed when she learns that her husband Nate is having an affair with Annie only to realize something more troubling. Nicky Katt is very good as Nate, a womanizer who is bored by his own marriage while his affair with Annie is also running out of steam. Olivia Thirlby is wonderful as Lila, the girl who would be a shining light to Arthur. Thirlby, known to audiences for her role as the best friend in Juno, is full of charm and wit while displaying an innocence to her that is insatiable to watch. Michael Angarano is excellent as Arthur, the young teen dealing with all that's going on around him as he comes of age in finding his first girlfriend and coping with the stuff that goes on his own. Angarano's performance is very realistic in the hang-ups of being a teenager while he has great chemistry with both Olivia Thirlby and Kate Beckinsale.

Kate Beckinsale, whose acting career in recent years has been spotty with action films and light drama, gives a performance that is describe as a return to form of sorts following her mid-90s breakout period. Stripping away the glamour for something more realistic and homegrown, Beckinsale's role as a stressed-out mother dealing with her child while juggling an affair and the presence of her ex-husband shows Beckinsale in playing a character that is realistic but also flawed. Along with a legitimate American accent, the British beauty displays grace and despair into her role as it's a phenomenal role for the actress. Finally, there's Sam Rockwell in a tour-de-force performance as Glenn. A man who is trying to improve himself though is often forgetful and pushy. Rockwell has some great scenes with Beckinsale as he displays a man who loses control while convinced he's doing what God asks him to do. It's a brilliant role for the actor who always gives a lot into his roles whether it's doing humor or drama as he's one of the best actors of his generation.

While it doesn't have the dreamy quality of George Washington, the romanticism of All the Real Girls, or the flat-out humor and entertainment factor of 2008's Pineapple Express. Snow Angels is still a harrowing yet intriguing drama from David Gordon Green featuring a superb ensemble led by Sam Rockwell, Kate Beckinsale, Michael Angarano, and Olivia Thirlby. Fans of Green's films will enjoy the richness and intimate small-town setting he creates while seeing that the Southern director is becoming more mature in his work. In the end, Snow Angels is an entrancing, dark, yet touching drama from David Gordon Green.

David Gordon Green Films: George Washington - All the Real Girls - Undertow - Pineapple Express - (Your Highness) - (The Sitter) - (Prince Avalanche) - Joe (2013 film) - (Manglehorn) - (Our Brand is Crisis) - (Stronger (2017 film)) - Halloween (2018 film) - (Halloween Kills) - (Halloween Ends)

© thevoid99 2011

Laurel Canyon

Originally Written and Posted at Epinions.com on 4/19/04 w/ Additional Edits.

After the successful acclaim of 1998’s High Art, writer/director Lisa Cholodenko had officially arrived as part of the next wave of women filmmakers. High Art not only solidified her as an excellent filmmaker with great promise, but the film also helped raise Patricia Clarkson's profile and revive the career of Brat Pack actress Ally Sheedy. In 2002, Cholodenko finally returned with her sophomore effort Laurel Canyon. Though like High Art, the film’s plot about a young, intelligent woman seduced by the world of an older woman’s lifestyle is similar. The difference in Laurel Canyon is the film takes place in the bohemian Los Angeles where the young character is a grad-school student is being seduced by her fiancé’s mother and her rock n’ roll lifestyle with her young, immature boyfriend. Her fiancé meanwhile is finding himself attracted to his new hospital co-worker. With a cast led by Frances McDormand along with Kate Beckinsale, Christian Bale, Natascha McElhone, and Alessandro Nivola. Laurel Canyon has the makings of an excellent film despite its shortcomings on the story and characters.

For the East Coast engaged couple of Sam (Christian Bale) and Alex (Kate Beckinsale), they seem to be ready for a new life away from the East Coast and from Alex’s parents (Dennis Howard and Catherine McGoohan). Alex’s father isn’t happy with the idea for the two moving to California to find a place but Sam needs to move to work for a hospital while Alex wants time to finish her dissertation for her medical studies in graduate school. Alex and Sam fly to California where they’ll stay in the home of Sam’s estranged mother Jane (Frances McDormand) who he hopes he doesn’t see for the week. Upon their arrival, they learn she is staying producing for a rock band led by a charismatic Brit named Ian (Alessandro Nivola). Sam learns that Jane has broken up with her boyfriend who is staying at her home in Malibu and is finishing up a new album. Sam ends up deciding to stay while Jane will give Alex some space for her work.

Sam leaves for work as he nearly crashes a car driven by a beautiful Israeli woman named Sara (Natascha McElhone) on his way to work, as he would later meet her in the hospital where she’s a resident working. Alex meanwhile, is working on her dissertation as she has a hard time being distracted by Jane, Ian, and his band. Alex later leaves to get food by jogging only to see Ian who picks her up while Sam is tending to help a kid named Wyatt (Rick Gonzalez) who is high on ecstasy. Life at Jane’s Laurel Canyon home is a bit hectic as Sam wonders if Alex is comfortable with the place and she insists, Jane or Ian isn’t bothering her though Sam is a bit uncomfortable with Jane’s close relationship with Ian. One day, Sara meets Alex as they talk about Alex’s dissertation that Sara finds all the work to be tedious as she decided to pick up Sam while Alex would leave to find a place.

Alex bored by her work and searching for a house begins to discover Jane’s world and finds herself drawn where Sam gets a bit bothered only to tend to find common ground with Sara on hospital research. Sam gets home to find Alex reading Spin magazine as he teases her for not reading the Harvard Review where he confronts his mother for drawing Alex into her world. Jane insists, Alex came on her own where one night when Sam and Sara are hanging out with other residents, she begins to get a bit wild with them in the pool where Jane and Ian are skinny-dipping on the pool. The night turns out to be a huge cloud where Sam, Jane, and Alex find themselves not sleeping. With Jane trying to finish a record away from her exec Claudia (Melissa De Sousa). Finally, the record is finished as Jane and Ian throw a party at the Chateau Marmont in Los Angeles where Alex engages in a striptease to Serge Gainsbourg and Brigitte Bardot’s classic Bonnie & Clyde while Sam is finding himself attracted to Sara, as he would learn how far Alex has descended into his mother’s world.

While Lisa Cholodenko clearly knows how to tell a story with her smooth, dramatic directing style, the film’s problem lies in its script. While the characters of Jane, Ian, and Sara are interesting, Sam and Alex aren’t as interesting and in their development, only Alex becomes a bit more interesting. Plus, the tension between Sam and Jane isn’t fully known only that Jane admittedly is filled with guilt in not being a great mother though Sam’s feelings isn’t very clear on his mother. Plus, the ending comes off as a disappointment in the case for Sam where it seems whatever issues he has with everyone, isn’t fully resolved. Still, Cholodenko manages to bring interesting moments in the film plus with its references to rock that of course, many rock aficionados will enjoy, particularly the cameos of Barlow, Beck bassist Justin-Medel Johnson, Sparklehorse’s Mark Linkous, and famed U2/Bob Dylan producer Daniel Lanois.

If the film’s script is its major flaw, then the look of the film clearly flawless thanks to the colorful, lush cinematography of Wally Pfister helmed by the organic, wooden house of Jane from veteran production designer and Thirteen director Catherine Hardwicke. Another aspect that made Laurel Canyon worth watching is the film’s music with its atmospheric score from Shudder to Think’s Craig Wedren to some of the original songs for Ian’s band written by Mark Linkous that are nice, rocking alt-pop stuff along with a great ballad all of the songs sung by Alessandro Nivola, who has a nice voice. The film’s soundtrack though is even better than the actual film with cuts from Mercury Rev, Clinic, The Butthole Surfers, Sparklehorse, and Elvis Costello along with classic stuff from Eartha Kitt, Serge Gainsbourg, Baxter Dury, Roxy Music, T-Rex, and Steely Dan. The soundtrack clearly is a highlight of the film as whom better to get in the mood to than with some obscure cuts from T-Rex and Roxy Music and striptease to Gainsbourg.

While the film’s cast an undoubtedly great group of actors, some just don’t fare well in their performances. While the smaller roles of Melissa De Sousa, Rick Gonzalez, and Gina Doctor as a naked mental patient are performed well along with the guys who plays Nivola’s bandmates, that included indie-rock icon Lou Barlow, Russell Pollard, and Imaad Wasif are fun to watch. The same couldn’t be said for the film’s leads since the supporting cast undoubtedly overshadows them. Christian Bale is an excellent actor but his character of Sam is pretty dull throughout the film except in scenes with Natascha McElhone. Bale doesn’t shine the same kind of chemistry with Kate Beckinsale since it lacks spark and any sense of excitement. Beckinsale though fares a bit better as she plays up to her sexy image in her scenes with Nivola and Frances McDormand. Though by the film’s end when she is confronted by Bale, her dramatic chops aren’t very convincing and come off in a bland way in the end though she tries her best to make her character interesting.

Though she is more restrained than Bale, Natascha McElhone actually pulls off an excellent performance, especially with nabbing an Israeli accent in the film. Her character of Sara is clearly the most mature person in the entire film as she stands out in her scenes with Bale trying to woo him only struggling with the fact that he has a fiancé and having trouble getting over that. McElhone clearly delivers a performance that stands out among the rest of the cast. Alessandro Nivola is hilarious throughout the film with his cocky British accent and swagger, though he’s really an American. Nivola is really interesting as he just slides on through with his charm and smile while actually being sympathetic to the Beckinsale character while having great chemistry with McDormand. Frances McDormand meanwhile, delivers a great performance as Jane with her wild, enigmatic approach by flashing her boobs and acting like an overgrown child. McDormand clearly proves she is sexy at her old age while not descending to any kind of contrived melodrama while balancing her dramatic performance with elements of comedy. McDormand again shines as she and Nivola both earned Best Supporting Performances at the 2004 Independent Spirit Awards.

While it’s kind of a disappointing follow-up to High Art, Laurel Canyon is a fine film from Lisa Cholodenko thanks to Frances McDormand, Alessandro Nivola, Natascha McElhone and its soundtrack. Fans of Christian Bale and Kate Beckinsale would best find other films as Bale is already on his way to be the next Batman though Beckinsale’s performance in Laurel Canyon is still better than the one she gave in the 2001 crap fest Pearl Harbor. While Laurel Canyon isn’t a strong film, it’s still got some fine moments while for music fans; the best thing to do is pick up the soundtrack. Watch Laurel Canyon for its performances from McDormand, Nivola, and McElhone.

Lisa Cholodenko Films:  (High Art) - (Cavedweller) - (The Kids Are All Right)

(C) thevoid99 2011