The Lost Daughter

 

Based on the novel by Elena Ferrante, The Lost Daughter is the story of a woman vacationing in Greece is disrupted by the presence of a young mother forcing her to think about her own past. Written for the screen and directed by Maggie Gyllenhaal, the film is an exploration of a woman dealing with her own past but also being fascinated by this young mother who is struggling in the new world of motherhood. Starring Olivia Colman, Dakota Johnson, Jessie Buckley, Peter Sarsgaard, Paul Mescal, Dagmara Dominczyk, Jack Farthing, Oliver Jackson-Cohen, and Ed Harris. The Lost Daughter is a riveting yet haunting film from Maggie Gyllenhaal.

The film is a simple story of a college professor traveling to Greece for a vacation where she observes a young mother dealing with her daughter who had lost her doll prompting this woman to think about her own past and struggles as a young mother back then. It’s a film that explores the idea of motherhood and how not everyone embraced it as a woman is forced to look back when she was a young woman to two little girls and watch this woman endure the same issues. Maggie Gyllenhaal’s screenplay is largely a straightforward yet reflective narrative where it follows Leda Caruso (Olivia Colman) who goes to Greece on a holiday from work as she rents a small apartment for the time as she watches many people including this young woman in Nina (Dakota Johnson) struggling to take care of her young daughter Elena (Athena Martin). Even as Elena is surrounded by a group of people including family as many of them are terrible and not really helping Nina with her struggles.

For Leda, she is forced think about her time as a young woman (Jessie Buckley) in taking care of her two daughters with her often-absent husband Joe (Jack Farthing). Gyllenhaal’s script often shows Leda in situations where she is just trying to keep things to herself but is often surrounded by people in Nina’s circle who are quite cruel including a pregnant woman in Callie (Dagmara Dominczyk) who wants Leda to move her chair away from her party but Leda politely refuses. Leda would often encounter people who are quite mean to her with the exception of Nina and the apartment caretaker Lyle (Ed Harris) as with the former often coming to her for advice. It would force Leda to think about her own young life and how being a mother to two young girls wasn’t just overwhelming but also suffocating at times as the older Leda often looks on with a sense of regret but also warning Nina that things are going to be much tougher.

Gyllenhaal’s direction is definitely mesmerizing in terms of the setting but also in the air of intimacy into the two stories of this one woman dealing with her role as a mother but also observing this young woman struggling. Shot on location in Spetses, Greece as the small town, beaches, and houses are characters in the film as this tranquil getaway for Leda and many others. Gyllenhaal does use some wide shots to get a scope into some of these locations but uses medium shots to play into the conversations within the characters as well as lots of close-ups to play into some of the anguish as well as young Leda’s own sexual desires that include a scene of her masturbating while wearing headphones to block out her screaming kids. Gyllenhaal plays into this idea of motherhood and it’s not for everyone where the young Leda is more concerned with her own desires and her work rather than be with her daughters who are both seeking her attention. The doll that belong to Elena that Leda realized was in her bag following a moment where Elena had been lost and Leda found her is a symbol of Leda needing to redeem herself but also look back at her own faults as a mother.

Gyllenhaal’s direction also play into Leda struggling to deal with some of the other vacationers though she befriends Nina, Lyle, and a young Irishman named Will (Paul Mescal) who works at the bar at the beach. Gyllenhaal often has the camera in these locations of where Leda walks onto a hill that leads to the beach but also these small locations in the town where she wants to enjoy herself despite some of the awful young locals and tourists who say horrible things to her. The third act does play into the events that Leda regretted in her past during a conversation with Nina as it flashes back to the young Leda going on a trip for a lecture where her own desires come into play among meeting a college professor named Hardy (Peter Sarsgaard). Gyllenhaal would also reveal this key moment that opens the film of Leda walking down the beach at night with a wound in her stomach as it is also a symbolic moment about the many struggles of motherhood and the sacrifices it took to accept this role. Overall, Gyllenhaal crafts an evocative yet chilling film about a middle-aged woman looking back at her faults as a mother years ago as she observes the struggles of a young mother during a vacation in Greece.

Cinematographer Helene Louvart does incredible work with the film’s cinematography with its emphasis on natural lighting for some of the interior/exterior scenes at night as well as for some of the exterior scenes in the daytime. Editor Affonso Goncalves does excellent work with the editing as it does have some stylish jump-cuts as well as some unique transitions into the flashbacks. Production designer Inbal Weinberg, with set decorator Christine Vlachos and art director Monica Sallustio, does brilliant work with the look of the apartment that Leda lives in as well as the home she had when she was younger and some of the places she go to in the town nearby. Costume designer Edward K. Gibbon does fantastic work with the costumes as it is largely casual with a few of the stylish clothing and swimsuits that Nina wears.

Tattoo designer Panos Kondylis does nice work with some of the tattoos that Nina has as well as some of the people in her circle wear as it play into the idea of youth. Special effects supervisor Solon Giannoutos and visual effects supervisor Antonis Kotzias do terrific work with the special effects as it is largely minimal including a scene involving a young Leda and a doll and other bits of set dressing. Sound editor Leslie Shatz does superb work with the sound as it play into the atmosphere of the locations as well as some of the sparse sounds heard in a location to give it that sense of realism. The film’s music by Dickon Hinchcliffe is wonderful for its mixture of blues and orchestral string music that play into the drama while the film soundtrack features original music by Greek artist Monika along with music from the Talking Heads, Bon Jovi, Judy Garland, and Roberta Flack.

The casting by Kahleen Crawford is incredible as it feature some notable small roles from Alexandros Mylonas as an older professor that the young Leda meets in a flashback, Alba Rohrwacher and Nikos Poursanidis as a couple of hikers the young Leda, her daughters, and husband meet, Panos Koronis as a Greek man named Vassili who is one of the few in Nina’s circle that is kind to her, Oliver Jackson-Cohen as Nina’s husband Toni, Robyn Elwell and Ellie Blake in their respective roles as Leda’s daughters Bianca and Martha, Ellie James and Isabelle Della-Porta in their respective roles as the voices of the older versions of Bianca and Martha, Jack Farthing as the young Leda’s husband Joe who is trying to do his job as well as be a good father, and Athena Martin in a wonderful performance as Nina’s young daughter Elena. Peter Sarsgaard is superb in a small role as college professor named Hardy whom the young Leda has an affair with during her seminar trip over translations she had created.

Dagmara Dominczyk is fantastic as Callie as a pregnant American tourist who is part of Nina’s circle as she is quite cruel while often being bossy while her kindness never feels sincere as she is someone who thinks knows everything and makes Nina insecure. Paul Mescal is excellent as the bartender Will who works at a beachside bar whom Leda befriends as he helps her out with the locales on the island but also observes the people who frequent though he also takes an interest in Nina. Ed Harris is brilliant as Lyle as apartment’s caretaker as a man that Leda befriends where he spent much of his time in this small town knowing a lot of the good, the bad, and the ugly that comes along while sharing his own stories of struggle with Leda but in a different way. Dakota Johnson is amazing as Nina as a young woman who is struggling with taking care of her young daughter while feeling her marriage is crumbling prompting her to find her own desires as she is being suffocated by people in her circle where she turns to Leda for help.

Finally, there’s the duo of Jessie Buckley and Olivia Colman in tremendous performances in their respective roles as the younger and older version of Leda Caruso. Buckley’s performance showcases a woman that isn’t just struggling with taking care of two young girls but also someone who is just feeling suffocated in the role as she has her own desires. Even though she has rare moments where she shows affection and time towards her daughters as it only play into a woman that knows what she has to do but is overwhelmed by having to be a mother. Colman’s performance is more reserved as the older Leda with the exception of a scene where she is antagonized by a bunch of young asshole men at a movie theater and threatens them. Still, Colman has a performance that showcases a woman with a sense of regret but also harboring the pain that she had as a young woman as it is definitely one of Colman’s great performances who also can sing as she sings along to Bon Jovi.

The Lost Daughter is a phenomenal film from Maggie Gyllenhaal as it features great performances from Olivia Colman, Jessie Buckley, and Dakota Johnson. Along with its supporting cast, gorgeous visuals, a somber music soundtrack, and its exploration of the themes of motherhood and its many struggles. The film is a fascinating thematic study that explore a woman looking back about her time as a young mother as well as watch a young mother dealing with similar struggles including unhappiness. In the end, The Lost Daughter is a sensational film from Maggie Gyllenhaal.

© thevoid99 2022

The Great New Wonderful

Originally Written and Posted at Epinions.com on 12/20/06 w/ Additional Edits & Revisions.

Directed by Danny Leiner and written by Sam Catlin, The Great New Wonderful is a multi-layered film revolving around five different stories in post-9/11 New York City as it involves an ambitious pastry chef, an old woman rekindling an old friendship, two Indian security chief officers, a couple dealing with their troubled son, and an accountant going into therapy. It's a film that plays into the lives of people as the deal with themselves and their own surroundings in New York City. Starring Olympia Dukakis, Jim Gaffigan, Tony Shalhoub, Maggie Gyllenhaal, Judy Greer, Tom McCarthy, Stephen Colbert, Naseerudin Shah, Sharat Saxena, and Edie Falco. The Great New Wonderful is a compelling yet flawed film from Danny Leiner.

Going through a break-up with his girlfriend, an accountant named Sandie (Jim Gaffigan) is seeking therapy from an oddball, office therapist named Dr. Trabulous (Tony Shalhoub). The therapy is taken into an unconventional approach as Sandie becomes evasive. Only Trabulous finally breaks through in which he reveals the anger that Sandie has been swallowing. In another part of New York, an old woman named Judie Hillerman (Olympia Dukakis) is stuck in a monotonous marriage with Henry (Ed Setrakian) as she spends her life doing the same thing while making collages. One day at a council meeting, she sees an old high school friend named Jerry Bono (Dick Latessa) where a couple of days later, they rekindle their friendship. Judie hopes this renewed friendship will break away from her monotonous life with her husband.

Back in the city, an ambitious pastry chef named Emme Keeler (Maggie Gyllenhaal) is trying to get some clients for the most competitive season of the year. Still living in the shadow of cake-queen Safarah Polsky (Edie Falco), Emme hopes to finally get one of her clients. Meanwhile, she is dealing with her own life with boyfriend Danny (Will Arnett) and after a meeting with Polsky, she decides to get into competition. With her team that included Alexa (Martha Millan), Clayton (Seth Gilliam), and Justin (Jim Parsons), they hope to attract the attention of a young actress named Lisa Krindel (Ari Graynor) which nearly falters but Emme gets the job. In another part of the city, Two Indian top-security guards in Avi (Naseerudin Shah) and Satish (Sharat Saxena) are watching over a visiting foreign general (Kapil Bawa). Avi and Satish discuss life as Avi talks about flirting with a woman he met a supermarket while Satish is feeling frustrated about the things in the world.

The fifth and final story revolves around a couple in David (Tom McCarthy) and Allison Burbage (Judy Greer) are dealing with their son Charlie’s (Bill Donner) who is starting to act out in a dysfunctional, violent way. While David is trying to get a client for his firm, Allison works as a teacher where Charlie's behavior has become strange in which he's wearing a cape and wearing hand puppets while not participating in any student events and starts to become violent towards them. Finally turning to the school's child psychologist Mr. Peersall (Stephen Colbert), it's been revealed that Charlie has been suspended several times and things aren't going great. A comment that Peersall says forces David and Allison to see what they can do with Charlie as everyone else is forced to deal about their own lives and all of their achievements and failures.

While the film does have moments that audiences can relate to. Not everything that screenwriter Sam Catlin and director Danny Leiner work. There are five stories. One of them is great which is the two Indian security guards since it's filled with a lot of humor and frustration of two men trying to deal with their lives. Two of them are excellent in the form of Emme's story and the story of Allison and David. The story of Emme is wonderfully told in how a young woman try to do anything to become the cake queen of New York only to realize that it's sometimes not worth it. The story of David and Allison is interesting for its mix of drama and humor, in which the latter is provided by a restrained Stephen Colbert in what he had to say. It's really wonderfully told. 

Another is fine yet flawed, in the story of Judie where despite its elliptical approach towards pacing, it does fulfill everything in her frustration with her marriage and how she tries to break the monotony. The only segment that doesn't work is the Sandie-Trabulous story since the dialogue, particularly Sandie’s evasiveness really gives the segment a lagging feel where it's becomes very inattentive and uninteresting despite Shalhoub's performance. The result is a film that is better in the sum of its parts rather than a whole. While they're all cut in an inter-connected way where all the stories are seen from one to another and to another, it does give the film a sense of being a bit uneven. Still, the film's ending for some of the stories do fulfill about everything that happened one year ago while it has a sense of irony. Despite the flaws and some heavy-handiness, it's still a film that has a bit of entertaining and profound moments.

Helping Leiner in his visual presentation of NYC is cinematographer Harlan Bosmajian whose use of colors ranging from sepia in the Judie Segment to more colorful flourishes in other sequences reveal the difference of the NYC world. Production designer Laura Ballinger and art director Tyler Q. Rosen also works to NYC's diversity from the posh world of Emme to the middle-working class world of David and Allison. Costume designer Alysia Raycraft also works to the film's different class structures on the clothing. Editor Robert Frazen does to do superb work on the cutting the film's structure in moving one segment to another where it doesn't lose its place or anything. Sound designer Jeff Kushner also does wonderful work, especially in the film's ending signifying the one-year anniversary of 9/11. The music of Brett Boyet and John Swihart is wonderfully plaintive to convey the emotions and moods of the characters and stories.

The film's cast is good for the most part with small, notable performances from Bill Donner, Seth Gilliam, Will Arnett, Ari Graynor, Martha Millan, Jim Parsons, Kapil Bawa, Ed Setrakian, and a cameo from playwright Tony Kushner. Jim Gaffigan is a good actor but the role he's been given and his performance was very bizarre and underwritten in a way that he's uncomfortably restrained and it lacks depth. Tony Shalhoub is a great actor and he is funny in his oddball approach but the story doesn't give him much to do and he's largely wasted in some ways. Olympia Dukakis is excellent in her role as the frustrated Judie who is trying to break from her monotonous lifestyle while Dick Latessa is wonderfully charming as her old school friend. Edie Falco is wonderful in her one-scene performance as Emme's rival Safarah who has seen all kinds of success but wants something that's fulfilling as she provides something for Emme. Maggie Gyllenhaal is excellent in her role as the ambitious but shallow cake-maker who is desperate to become queen while leading a posh-like lifestyle where she realizes how unfulfilling her life is in a scene where Gyllenhaal reveals the depth and emotions of her performance.

Judy Greer and Tom McCarthy are excellent in their roles as frustrated parents trying to handle their own love life as well as their anti-social, violent son. Stephen Colbert meanwhile, gives one of the film’s best performances, notably a scene where he steals the show with one line that really shows his talents as an actor and not as the usual Colbert reporter that people know. Sharat Saxena is excellent as the frustrated, grumpy Satish who is trying to figure out his own role in the world while being a guard for a foreign general. Bollywood icon Naseerudin Shah is really the film’s most likeable and charming performance as the charismatic Avi. Shah's wittiness on the mysteries of life and women really gives the film and his segment the most entertaining side as he is also a great comedic man to Saxena's straight-man role.

The Region 1 DVD for The Great New Wonderful from First Independent Pictures presents the film in the 16x9 aspect ratio and 5.1 Dolby Digital Surround Sound. The special features the film has includes the film's theatrical trailer plus a trailer for the film version of David Mamet's play Edmond starring William H. Macy, Rebecca Pidgeon, Joe Mantegna, Julia Stiles, Mena Suvari, and Denise Richards. The features the film brings includes a two-minute character stills presentation featuring promotional pictures. The one-minute NYC Behind the Scenes featurette is really left-over footage of shots of NYC. One big feature of the film that will please its audiences are the film's five segments seen as shorts where audiences can watch the shorts but nothing new is added.

The deleted scenes segment includes 12-minutes worth of 7 deleted scenes with commentary from director Danny Leiner and screenwriter Sam Catlin. Scenes included an alternate opening with voice-over dialogue, Dr. Trabulous leaving a theater, Avi talking about sugar, David and Allison coming home from dinner where they talk to their son's baby sitter (played by Alexa Dziena of Broken Flowers), two scenes with Dr. Trabulous and Sandie where a woman (Karen Leiner) walks out crying and a scene of Trabulous talking about a play. One final scene involves a councilman and an old man talking. Leiner explained that they were cut due to creative reasons and timing. The feature-length commentary track from Leiner and Catlin isn't very interesting largely due to the fact that the two discussed the writing of the film and said "Oh this scene has good writing" and stuff. Not much talk on the cast and the film where the result is very boring and makes the film a bit unwatchable.

The Great New Wonderful is a superb though uneven film from Danny Leiner. While it had a great cast as well as some wonderful stories about people living in post-9/11 New York City, it's a film that is has a lot to offer but also moments that don't work. In the end, The Great New Wonderful is a very good film from Danny Leiner.

© thevoid99 2015

Happy Endings (2005 film)

Originally Written and Posted at Epinions.com on 7/5/05 w/ Additional Edits & Revisions.

Written and directed by Don Roos, Happy Endings is a multi-layered film that revolves around many characters as they not only cope with changes in their lives but also the search for happiness while they deal with themselves. The film explores many different storylines that features characters who are connected with one another as they all involve themselves into very different situations. Starring Lisa Kudrow, Steve Coogan, Laura Dern, Tom Arnold, Bobby Cannavale, Jesse Bradford, David Sutcliffe, Sarah Clarke, Jason Ritter, and Maggie Gyllenhaal. Happy Endings is an offbeat yet whimsical film from Don Roos.

Mamie (Lisa Kudrow) lives a nice, carefree life with her masseuse lover Javier (Bobby Cannavale) while her British stepbrother Charley (Steve Coogan) runs a restaurant he inherited from their late parents. Charley is leading a family life with his boyfriend Gil (David Sutcliffe) who enjoys being an uncle to the son of his oldest friend Pam (Laura Dern) and her lover Diane (Sarah Clarke). Working in Charley's restaurant is Otis (Jason Ritter) who has a crush on Charley but denies that he is gay while he meets up with a mysterious woman named Jude (Maggie Gyllenhaal) who he invites to sing for his band who rehearses in the garage of his father Frank (Tom Arnold). One day, Mamie receives a note about the whereabouts of her long-lost son from a friend of her son in Nicky (Jesse Bradford) who is an aspiring filmmaker. Mamie isn't sure as she and Javier wants to know what's going on as they break into Nicky's apartment only to be caught as Mamie makes a deal to make a documentary about Javier’s work as a masseuse. Charley meanwhile, tries to wonder if Gil is the father of Pam’s son as he tries to investigate the whole thing. Jude joins Otis' band as she wonders about his sexuality as she confronts him sexually while he continues to deny that he's gay, especially from his millionaire father.

When Frank learns that Otis broke up with Jude claiming he's with another girl, Frank takes a shining to Jude as the two become attracted to each other. Charley's investigation meanwhile gets out of control as he tells Pam that Gil is suffering from a disease but once the truth is revealed, everything starts to fall apart. Mamie helps Nicky with his documentary on Javier where they learn more about him and each other. Especially since Mamie knows who the father of her child is which she gave up for adoption several years ago. After a series of legal battles, Pam confesses to Charley's accusations only to reveal a shocking secret that crumbles his relationship with Gil. With Jude being engaged to Frank, Otis become uncomfortable as he wonders what Jude's intentions are, especially with being pregnant all of a sudden. Mamie learns more about Javier after an encounter with a woman named Shauna (Tamara Davies) and all hell breaks loose as she and Nicky fall out. With everyone learning about their own secrets within the coming months of their lives, everyone tries to figure out about their own happy endings.

Don Roos' interest towards not just sex and morals not only showcase some of its downside but also the sense of curiosity over how it can be used for bad reasons. Nothing is safe within the subject matter of the film where he explores everything about homosexual family life, gold-diggers, misogyny, and everything else. While the film's script is structured in a non-linear format, it doesn't miss a beat in its idiosyncratic rhythm as well its use of inter-card titles that keeps popping up during the film that gives the characters a bit of a background or the idea of what the audience could be thinking. It's a very confrontational piece of writing and it's one that is bold and honest with a nice, healthy dose of humor.

Roos' ability as a writer shines while he goes into the world of handheld camera works to bring a realism to the film. Roos brings in strange camera movements that work where at times, it seems like everything is stilled but there’s something behind the shots to look at with the inter-cards just popping up into what might happen. Even with the third act of the film that just keeps on shocking, including a brutal scene that opens with the film that is revealed near the end. Overall, Roos crafts a very witty yet compelling film about people lost in their own rules and what they want in life.

Helping Roos with his strange, handheld vision is cinematographer J. Clark Mathis who uses that shaky movement and natural lighting that gives the film a realistic, beautiful look. Production designer Richard Sherman and art director Lorin Flemming help give the film a very suburban, bohemian-like look on some of the production leaving most of the film's location just as it is. Even costume designer Peggy A. Schnitzer plays to that realism in its look with Jesse Bradford sporting old hard rock t-shirts. Editor David Codron helps bringing in that off-kilter rhythm to the film with a nice, solid editing style, even with the inter-card titles that pop up during the film. The film itself has a strange mix of music with cuts from Calexio, Dirty Three, Black Heart Procession, Hugh Burns, and Asturd Gilberto along with a few karaoke cuts in the film with some original songs sung by Maggie Gyllenhaal herself, who has a wonderful singing voice.

For an ensemble film like this, you need a great cast and Don Roos delivers with some nice small performances from Halle Hirsh, Eric Jungman, Roos regular Johnny Galecki, Tamara Davies, and Sarah Clarke. David Sutcliffe is excellent in his role as confused Gil who becomes an innocent victim in a bad scheme made by his lover Charley while Laura Dern shines in the more emotional part of her story with Charley in a masterful, complex performance. Tom Arnold is a real surprise in the film where he brings a restraint to his comedic performance with a sense of charm and warmth to the role as he brings in some great chemistry with Gyllenhaal and Jason Ritter. Jason Ritter is also good in his role as the sexually-confused Otis with light-hearted performance that brings reminder of the same kind of sympathy and humor that his late father John had brought as this role serves a fine breakthrough.

Bobby Cannavale is very funny in his role as Mexican-born masseuse Javier who steals the scene every time he’s in front of the documentary camera while revealing a strange dark side that gives him more edge into his performance. Jesse Bradford gives probably his finest and most abrasive performance to date as a scruffy-looking wannabe filmmaker with his artistic drive and surefire attitude. Bradford really gives the film not just a comic edge but also a brooding tone as he shines in his scenes with Cannavale and Lisa Kudrow. Kudrow also steals the show in her best performance to date as the cautious, secretive Mamie as she just brings a bit of humor but shows more range in her ability in drama as she really brings the emotional center of the film with Bradford as her confrontational partner.

Maggie Gyllenhaal gives a fantastic, dark performance as a malcontent bohemian who is looking for ways to break things down. Gyllenhaal uses her sassiness, sexiness, and demeanor to give her character an angst that is needed for the film. The film's best performance overall goes to Steve Coogan as the openly-gay but troublesome Charley who tries to be opportunistic but fails. Coogan uses his British, slapstick-comedy style in classy ways for lighthearted humor while delivering some of his best dramatic work in heart-punching scenes as his character represents the flaws and foolishness of all the characters in this film.

Happy Endings is a phenomenal film from Don Roos. Featuring an amazing ensemble cast that includes Maggie Gyllenhaal, Steve Coogan, Lisa Kudrow, Tom Arnold, Bobby Cannavale, and Jesse Bradford. It's a film that explores people trying to find elements of happiness in a world where sex and morals often drive their motivations or confuse them. In the end, Happy Endings is a remarkable film from Don Roos.

© thevoid99 2015

Frank (2014 film)

Based on the newspaper article Oh Blimey! by Jon Ronson, Frank is the story of a young wannabe musician who joins an avant-garde band whose singer who wears a big fake head. Directed by Lenny Abrahamson and screenplay by Jon Ronson and Peter Straughn, the film is a fictionalized story about the cult artist Frank Sidebottom who was a persona of the late comedian Chris Sievey as the explores a young man joining this band as he is eager to succeed much to the ire of his bandmates as the titular character is played by Michael Fassbender. Also starring Domhnall Gleeson, Maggie Gyllenhaal, Carla Azar, Francois Civil, and Scoot McNairy. Frank is an offbeat but truly whimsical film from Lenny Abrahamson.

The film revolves a young wannabe musician who aspires to make musician where he joins this strange avant-garde band as its singer is a guy who wears a paper-mache head. For Jon (Domhnall Gleeson), he sees a chance to unleash his ideas as the vocalist Frank is inspired much to the chagrin of their bandmates including its theremin player Clara (Maggie Gyllenhaal). Once Jon exposes their attempts to make music to the public which leads to a big gig at the South by Southwest festival, things would eventually unravel despite Frank’s enthusiasm to be seen by everyone. It’s a film that plays into the world of music and how some are just willing to play music for fun and not really care about fame and riches. Then there’s others like Jon who believes that people would want to hear the music and is willing to make it thinking he would succeed.

The film’s screenplay definitely plays into this conflict between the concept of fame and art as the script definitely display allusions into how some musical geniuses aren’t able to cope with being famous. Though Jon is a person with good intentions who joins the band by accident when their previous keyboard player tries to drown himself on a beach. He is a person that really wants to make it in the world of music as he has lots of ideas but Clara and other bandmates think it’s mediocre. Frank sees promise in Jon’s ideas as does the band’s manager Don (Scoot McNairy) though he warns Jon about using Frank’s genius to get himself ahead. It plays into this idea about these musical geniuses who are very gifted but extremely trouble as Frank is someone who never takes off his mask as it relates to ideas of mental illness. Even as the script features references to the real Chris Sievey as well as other eccentric but troubled geniuses as Daniel Johnston, Captain Beefheart, and Syd Barrett.

Lenny Abrahamson’s direction has this strange mix of being very offbeat and whimsical but also has a sense of charm in its approach to humor and drama. Much of it plays into the idea of this band known as Soronprfbs as they’re very strange in not just their music but also in the fact that they have this singer and personalities who really can’t keep it together. Abrahamson’s presentation to the scenes set in England, Ireland, and parts of New Mexico and Austin, Texas are simple yet there is this energy that is just engaging to watch. Especially in a scene where Frank and the band are trying to create songs as Abrahamson maintains an intimacy in those scenes. Even in the close-ups to showcase some of the sense of passion in the music as well as the tension between Clara and Jon over Frank. The musical performances are quite lively as Abrahamson captures something that feels real but also chaotic as the film’s third act in the U.S. plays into that chaos. Especially in that sense of realism where playing a place like South by Southwest might not be for everyone as Frank’s enthusiasm might actually hide something far more drastic that Jon doesn’t seem to understand. Overall, Abrahamson creates a very captivating yet very witty film about a young musician who finds himself under the wing of an eccentric yet troubled musical genius.

Cinematographer James Mathers does excellent work with the film‘s cinematography from the low-key lighting for some of the nighttime scenes in Ireland to the sunny look of the scenes in the U.S. Editor Nathan Nugent does fantastic work with the editing as it has a sense of style with some jump-cuts and a few montage sequences to showcase the band in creative mode. Production designer Richard Bullock, along with set decorators Marcia Calosio and Jenny Oman and art directors Tamara Conboy and Kevin Pierce, does brilliant work with the look of the home in Ireland they would live in to record and create as well as the tour van and the places in America.

Costume designer Suzie Harman does terrific work with the costumes from some of the offbeat clothing that Clara wears as well as some of her bandmates while the look of Frank and Jon are much more straightforward. Frank head model Robert Allsop does amazing work with the design of the head and some of the things that the character needed. Visual effects supervisor Ed Bruce does nice work with the minimal visual effects that often involve crowd scenes at South by Southwest. Sound designer Steve Fanagan does superb work with the sound to capture the way some instruments are recorded as well as the level of noise in the music. The film’s music by Stephen Rennicks is incredible for its very light-hearted and offbeat score that features a lot of xylophones and keyboards while the original music of Soronprfbs is exhilarating and wild.

The casting by Fiona Weir is remarkable as it features some notable small roles from Hayley Derryberry and Lauren Poole as two fans of the group from South by Southwest, Rosalind Adler as a German mother that Frank charms in Ireland, and Shane O’Brien as the keyboard player that Jon would replace. Francois Civil is terrific as the band’s French bassist/guitarist Baraque who barely speaks a word of English while Carla Azar, of the experimental rock band Autolux, is superb as the very quiet drummer Nana. Scoot McNairy is excellent as the band’s manager Don as this man who is in awe of Frank but is also just as troubled as he represents the conflict of getting Frank exposure but also protecting him.

Maggie Gyllenhaal is fantastic as the band’s very fiery theremin/keyboard player Clara who is a real firecracker that is very protective of Frank as she despises Jon for putting Frank in danger. Domhnall Gleeson is brilliant as Jon as this well-meaning aspiring musician/songwriter that wants to create good music as he befriends Frank only to realize that his ambitions might be too much for Frank. Finally, there’s Michael Fassbender in a tremendous performance as the titular character as he spends the film wearing this big paper-mache mask as Fassbender’s voice and body language is really the heart of the performance as well as displaying the sense of torment and insecurities as someone that is gifted but very troubled.

Frank is a phenomenal film from Lenny Abrahamson that features an incredible performance from Michael Fassbender as the titular role plus strong supporting performances from Domhnall Gleeson and Maggie Gyllenhaal. It’s a strange yet endearing film that isn’t afraid to be weird but also display some of the most compelling aspects of mental illness as it relates to gifted but troubled geniuses. In the end, Frank is a sensational film from Lenny Abrahamson.

Lenny Abrahamson Films: (Adam & Paul) - (Garage (2007 film)) - (What Richard Did) - Room (2015 film)

© thevoid99 2014

Sherrybaby

Originally Written and Posted at Epinions.com on 2/1/07 w/ Additional Edits & Revisions

Written and directed by Laurie Collyer, Sherrybaby tells the story of a young woman who returns from prison after an arrest for robbery as she tries to reconnect with the young daughter she left behind while dealing with new realities. The film is an exploration of a drug addict trying to find redemption as she also hopes to win back her daughter as the role of Sherry Swanson is played by Maggie Gyllenhaal. Also starring Sam Bottoms, Giancarlo Esposito, Danny Trejo, Brad William Henke, Kate Burton, Bridget Barkan, and Ryan Simpkins. Sherrybaby is a compelling yet harrowing film from Laurie Collyer.

After a three-year stint in prison, Sherry Swanson is released on parole while arriving onto Newark, New Jersey. Meeting her parole officer Hernandez (Giancarlo Esposito), Sherry is forced to live in an inpatient safe-house where she’s given curfew while living with other recovering addicts. Calling her brother Bobby (Brad William Henke), she wonders if she can visit his home where for the past few years, he's been taking care of her daughter Alexis (Ryan Simpkins) with wife Lynette (Bridget Barkan). After meeting a counselor named Andy (Rio Hackford), she continues to use her sex appeal to get a job working with children. When Bobby decides to let her sleep out for a night in their home, she finally meets her daughter Alexis though the meeting ends up being awkward. After attending a recovering addicts meeting, she meets a former addict/counselor named Dean (Danny Trejo) who knew her when she was just a stripper at the age of 16.

After a spat with a fellow housemate in the safe-house, Sherry leaves the house only to sleep on the patio of her brother’s home. Lynette finds Sherry to be uncomfortable as Alexis keeps calling her mother by her first name to infuriate Sherry. When Sherry and Bobby's father (Sam Bottoms) arrives for a dinner, Sherry's demand for attention from her daughter and father becomes troubling as the tension between Sherry and Lynette over Alexis is brewing. Bobby had no choice but to have Sherry live in a nearby motel. Wanting some company, she calls Dean where the two have a good time.

Sherry's parole officer Hernandez learns that she left the safe-house and wants to arrest but she finally got the job that she wanted. Working with kids, Sherry feels fulfilled even with her relationship with Dean. Hoping to win her daughter through presents for her upcoming birthday party, Sherry decides to attend her daughter's party by surprise. The presents Sherry brought seemed to go right but it doesn't. Sherry wonders what is she doing wrong as she is comforted by her father in which, Bobby learns the root of Sherry's troubles. The failure at the birthday party brings Sherry back to her demons as she begins to have a hard day as Dean learns of her newfound troubles while Hernandez gets the truth over what has happened. With Sherry now facing an uncertain future, she is forced to deal with new realities while wondering if she is capable of being a responsible mother.

While films about addiction and recovery isn't new and writer/director Laurie Collyer is aware of that. Collyer instead goes into the realm of character study in which the film is really character-driven about a young woman like Sherry who is trying to do right yet struggles. Despite the lack of originality, Collyer's observant direction and screenplay does create situations and moments in which audiences can understand. Especially when it comes to addiction and how hard it is to recover. A character like Sherry can't be someone with a heart of gold. She's selfish, abusive at times, and even out of control yet there's a side of her that is good but is having a hard time trying to balance it out.

When the film deals the awkward relationship between Sherry and her daughter Alexis, it's clear that Sherry wants to be a good mother yet is barely out of her own youth and at times, acts like a child whenever she's around her father and Alexis is not sure how to react to her mother. There's a part during the family dinner sequence that reveals Sherry's selfishness and wanting some attention where she sings a song. What doesn't work in that scene is that song. Still, Collyer brings a very strong film that feels real to its genre.

Cinematographer Russell Lee Fine does excellent work with the film's colorful, cinematic style with some wonderful shading and intimate shots in some of the film's night, exterior and interior sequences. Production designer Stephen Beatrice and set decorator Lisa Scoppa also brings grit and realism to the inpatient safe-house where it looks very dirty with the contrasting look that Bobby lives in as the whole film is shot on location in New Jersey. Costume designer Jill Newell does excellent work in the clothes she gives Maggie's character from the sexy, halter-tops and blouses along with tight jeans to the more stringy, thin dresses she wears. Editors Curtiss Clatyon and Joe Landauer do excellent work in bringing a rhythmic, leisurely-pace to the editing with wonderful perspective cuts in which nearly every frame features Gyllenhaal. Music composer Jack Livesey brings a moody, atmospheric, guitar-driven score to convey the emotions with additional music from Dana Fuchs bringing some folk-rock cuts to the film.

The cast is wonderfully assembled with notable small performances from Rio Hackford as a counselor, Kate Burton as Sherry's stepmother, Caroline Clay as Hernandez's officer, and Sam Bottoms as Sherry's brooding father. Kate Burton is good as Lynette who is aware of Sherry's troubling behavior while having to be the mother for Alexis. Ryan Simpkins gives a realistic, natural performance as the four-year old Alexis who is unsure of how to react to her mother as the confusion is wonderfully played as Simpkins is excellent. Giancarlo Esposito is wonderfully understated as a strict, honest parole officer who plays tough but plays fair as he tries to be one of the few allies that Sherry has despite his strictness.

Danny Trejo, known for playing tough guys, is wonderfully humble as the wise, sympathetic Dean who tires to help out Sherry while making aware of how hard recovery is. Brad William Henke is also great as the sympathetic brother who tries to be father to Alexis while is very low key in dealing with the guilt over his sister's behavior and how he wants to help her. Finally, there's Maggie Gyllenhaal in a phenomenal performance as Sherry as this young woman trying to do right as she deals with her setbacks and her inability to be a mother as it's Gyllenhaal in one of her finest performances.

Sherrybaby is an excellent film from Laurie Collyer that features an incredible performance from Maggie Gyllenhaal. While it's a film that doesn't say anything new about addiction, it is still a compelling story that explores a woman trying to redeem herself for her actions as well as her struggle to stay clean. In the end, Sherrybaby is a superb film from Laurie Collyer.

© thevoid99 2014

Stranger Than Fiction

Directed by Marc Forster and written by Zach Helm, Stranger Than Fiction is the story of an IRS auditor who learns that he’s a character in a book that’s being written as he also learns that he is about to die. The film is an exploration into a man learning about his death as he tries to make some changes where he falls for an anarchist baker while the writer tries to figure out how to end her book. Starring Will Ferrell, Emma Thompson, Maggie Gyllenhaal, Queen Latifah, Tony Hale, Linda Hunt, and Dustin Hoffman. Stranger Than Fiction is a quirky yet charming film from Marc Forster.

The world of reality and fiction is very unique as the film is an exploration of a man who hears a mysterious voice where he learns that he is a character for a book being written as the writer reveals that he will die. While dealing with this crisis about his death, Harold Crick (Will Ferrell) tries to come to terms with his work as an IRS auditor as he falls for an anarchist baker in Ana Pascal (Maggie Gyllenhaal). Especially as he decides to live his life without thinking about numbers while coming to a literary professor about his experiences. Meanwhile, the book’s writer in Karen Eiffel (Emma Thompson) is dealing with trying to find a way to kill Harold Crick for her book where Crick eventually finds out the identity of the narrator he’s been hearing. It all plays into a writer dealing with her own artistic morality and a man dealing with who he is as they both endure their own existential crises.

Zach Helm’s screenplay starts off playing into what Harold Crick does as he lives his life based on numbers as it is part of a routine that he does. Much of it is told through Eiffel’s narration where all of a sudden, Crick starts to hear her voice as it would affect his work where he would meet his greatest challenge in Ana who despises everything that Harold does as she refuses to pay taxes that she owes. Harold’s encounter with Ana and some of things that’s happening to him in his life would force him to make some changes as he seeks the advice of literary professor Jules Hibbert (Dustin Hoffman) who is asked to find any idea on who the author is which adds to this blur of reality and fiction.

Especially as some of the fiction is played in Eiffel’s head as she struggles with writer’s block while she is being watched by an assistant in Penny Escher (Queen Latifah) who is making sure that Eiffel finishes her book. Yet, reality and fiction would eventually collide when Eiffel learns that the character she is creating is indeed real where it would play not just into her conflict about her ending but also a conflict in Harold over what he would do. Even as Hibbert would play a role into Harold’s fate based on his literary expertise as it plays into the conflict of what is right for the sake of art.

Marc Forster’s direction is very simple in terms of his compositions yet manages to infuse a lot of light-humor and drama to play into the quirkiness of the film. Much of it is shot on location in Chicago which plays into this world that is quite modern but also quaint as it serves as this unique reality in Harold’s life where he has his routines only for things to fall apart in the course of the film. Some of the direction include some unique wide shots, medium shots, and close-ups along with some very engaging approach to the framing in the way Crick is portrayed early on as he is shown in very tight framing devices. Things definitely change once he starts to loosen up and the film begins to feel much looser while the scenes involving Eiffel are a mixture of differing styles where she’s dreaming in some scenes while her struggles are shown in very direct medium shots and close-ups. Even as Forster maintains that idea of comedy vs. tragedy that adds to the film’s conflict where it would play into the climax over what might be Harold’s death. Overall, Forster crafts a very exhilarating and witty portrait of a man who learns about his death as he starts to live and defy the expectations of his possible fate.

Cinematographer Roberto Schaefer does excellent work with the film’s cinematography where he infuses a few shadings and such for some of the film’s interior settings along with low-key lights for some scenes set at night while keeping the daytime scenes very simple. Editor Chesse does nice work with the editing with its rhythmic cuts to play into some of the film’s action and humor while infusing a few montages in the film. Production designer Kevin Thompson, with set decorator Ford Wheeler and art director Craig Johnson, does fantastic work with the very lifeless look of Harold‘s apartment and the IRS office to the more colorful and lively look of Ana‘s bakery and home.

Costume designer Frank L. Fleming does terrific work with the costumes as it’s mostly casual while the clothes that Ana wears play to her anarchist ideals. Visual effects supervisor Kevin Tod Haug does amazing work with the visual effects that often pop-up to play into Harold’s obsession with numbers. Sound editor Geoffrey G. Rubay is superb for the way it plays into some of the film’s locations as well as Harold’s reactions to what he’s hearing. The film’s brilliant music soundtrack is supervised by Brian Reitzell and Britt Daniels as they provide their own score that mixes a few orchestral pieces with some post-punk based cuts while the soundtrack includes pieces by the Clash, the Jam, Spoon, Wreckless Eric, Delta 5, and M83.

The film’s casting by Kathy Driscoll and Francine Maisler is great as it features some notable small performances from Linda Hunt and Tom Hulce as two shrinks that Harold meets upon his breakdown plus a terrific performance from Tony Hale as Crick’s co-worker and friend Dave who tries to find a fun life outside of work. Queen Latifah is excellent as Penny who watches over Eiffel to see if she’ll finish the book while being baffled by Eiffel’s quirky behavior. Dustin Hoffman is amazing as Professor Jules Hibbert as this very smart man who knows about the ideas of literature as he tries to help Harold over his situation while being someone who will play into Harold’s fate. Emma Thompson is brilliant as Karen Eiffel as a revered novelist who is struggling to finish her book and kill Harold Crick as Thompson brings a lot of humor to her character as well as an internal conflict over artistic morality.

Maggie Gyllenhaal is fantastic as Ana Pascal as this fiery baker who refuses to pay her taxes due to her anarchist beliefs as she tries to torture Harold only to realize that he’s not a bad guy as it’s a performance full of humor and warmth. Finally, there’s Will Ferrell in a remarkable performance as Harold Crick where it’s Ferrell in a very restrained performance where he endures all sorts of humiliating moments while trying display someone who had been obsessed with his routines only to be alive as it’s a performance with a lot of heart that showcases Will Ferrell doing more than what is expected from him in the comedies he’s usually in.

Stranger Than Fiction is a phenomenal film from Marc Forster that features a winning lead performance from Will Ferrell. Along with great supporting work from Maggie Gyllenhaal, Emma Thompson, Queen Latifah, and Dustin Hoffman. It’s a film that plays into the world of reality and fiction plus a man trying to find a new lease on life. In the end, Stranger Than Fiction is a witty yet sensational film from Marc Forster.

Marc Forster Films: (Everything Put Together) - (Monster’s Ball) - Finding Neverland - (Stay (2005 film)) - (The Kite Runner) - Quantum of Solace - (Machine Gun Preacher) - (World War Z)

© thevoid99 2014

Adaptation

Directed by Spike Jonze and written by Charlie & Donald Kaufman that is based on the novel The Orchid Thief by Susan Orleans, Adaptation is the story of Charlie Kaufman’s struggle to adapt Orleans’ novel for a film project as he ends up putting himself into the story. The film is a multi-layered story that explores not just a screenwriter’s struggle but also showcase an author’s struggle in her book where she meets this eccentric orchid thief. Playing the Kaufman brothers in the film is Nicolas Cage while Meryl Streep plays Susan Orleans in this very strange yet largely dramatized world into the struggle that writers go through. Also starring Cara Seymour, Tilda Swinton, Maggie Gyllenhaal, Ron Livingston, Brian Cox, and Chris Cooper. Adaptation is a mesmerizing yet offbeat film from Spike Jonze.

Being a writer is tough as is being a screenwriter where the film doesn’t just explore the world of writer’s block but also the struggle in the art of adapting another person’s work. Even as the film is about Charlie Kaufman’s struggle to understand Susan Orleans’ book which is about Orleans trying to understand the work of this poacher named John Laroche (Chris Cooper) who steals these rare orchids in south Florida. The film not only explores Orleans’ meetings with Laroche which would lead to write her book as well as deal with her own emotional struggles. The film also showcases Kaufman’s struggle in trying to be faithful to the book as he deals with deadlines as well as twin brother Donald who wants to become a screenwriter where he manages to create a clichéd psychological thriller that sells very well.

The film’s screenplay by the Kaufman brothers doesn’t just explore Charlie’s struggles but also the sense of depression and self-loathing he’s carrying while he’s overseeing the production of Being John Malkovich which he wrote. It’s a film that has a lot of humor but it’s mostly dramatic where Charlie tries to write the screenplay where the narrative moves back-and-forth to Charlie’s struggles as well as the story of Orleans meeting Laroche and learn about his life while dealing with her own issues. It’s a narrative that has a lot of paralleling stories as well as voiceover narrations from both Orleans and Kaufman where it’s also a bit satirical at times when Charlie decides to attend a seminar by Robert McKee (Brian Cox) who discourages the use of voice-over narration.

Some of the film’s humor often involve Donald mooching into Charlie’s newfound success as he also wants to become a screenwriter as he would be the one to tell Charlie about McKee. Donald’s involvement in the story would be crucial for Charlie to not only to try to get in contact with Orleans but also ask her about the book. It would eventually lead into this very strange third act that not only reveals more about Orleans’ relationship with Laroche but also the latter’s obsession in why he wants to get these rare orchids. Notably as it would change the tone of the story into something much darker as it would also play into why Charlie had such a hard time understanding Orleans’ book.

Much of Spike Jonze’s direction is very straightforward since it is more of a straight comedy-drama with elements of meta-fiction and such. The scenes on the set of Being John Malkovich, where it features cameos from its stars John Cusack, Catherine Keener, and John Malkovich along with some crew members of that film, is one of the moments in the film that seems weird along with some of the fantasies that Charlie has in his head which includes women like Orleans, studio executive Valerie Thomas (Tilda Swinton), and a waitress he meets named Alice (Judy Greer). One element of weirdness in the film is the fact that there’s twin brothers in the film where Jonze manages to make great use of the split-photography for the brothers to interact.

Through the use of close-ups, medium shots, and wide shots, Jonze keeps things simple while going for something beautiful in the scenes set in South Florida where Laroche lives in as it is this exotic land that is sort of forbidden. There’s also a mix of something dark in the world as well as the presentation of Laroche as this ragged man who hangs around with Seminole Indians and lives in a trailer. The sense of meta-fiction and reality does collide where it does become a suspense film of sorts in the third act with bits of humor as it does lead to this climax where the Kaufman brothers discover the truth over Orleans’ relationship with Laroche. The result is a strange yet engrossing comedy-drama about a man trying to understand a woman’s book in the struggles of the idea of adaptation.

Cinematographer Lance Acord does amazing work with the film‘s cinematography from the lushness of the scenes set in Florida in its swamps as well as the scenes at the botanical gardens while much of the film is pretty straightforward. Editor Eric Zumbrunnen does excellent work with the editing in creating some unique montages and rhythmic cutting to play into some of the film‘s humor and drama. Production designer K.K. Barrett, with set decorator Gene Serdena and Peter Andrus, does fantastic work with the look of Orleans‘ New York apartment and the home of the Kaufman brothers as well as the ragged yet exotic world of Laroche. Costume designer Casey Storm does terrific work with the costumes where much of it is straightforward to play into the personalities of the characters.

Special makeup designer Tony Gardner does wonderful work with the look of the characters such as the look of the Kaufman brothers as well as the ragged look of Laroche. Visual effects supervisor Gray Marshall does some fine work with some of the film‘s minimal visual effects that involve some of the fantasies that Charlie has as well as some of the scenes in Florida. Sound designer Richard Beggs and sound editor Michael Kirchberger do phenomenal work with the film‘s sound in not just some of the scenes at the parties but also the layer of intimacy in the scenes at the swamps. The film’s music by Carter Burwell is marvelous for its quirky yet somber score that plays into the different moods of the film while the soundtrack consists a wide array of music from Beck, the Rolling Stones, Elvis Costello, and the Turtles..

The casting by Justine Baddeley and Kim Davis-Wagner is incredible as it features cameo appearances from John Cusack, John Malkovich, and Catherine Keener as themselves on the set of Being John Malkovich along with other notable cameos from filmmakers Curtis Hanson as Orleans’ husband and David O. Russell as a journalist from The New Yorker. Other notable small roles include Judy Greer as a waitress Charlie has a crush on, Litefoot and Jay Tavare as Seminole Indians who are friends of Laroche, Ron Livingston as Charlie’s brash agent, and Tilda Swinton as the film executive Valerie Thomas who is intrigued by Charlie’s pitch though has concerns over why he hasn’t finished the script. Maggie Gyllenhaal is wonderful as the makeup artist Caroline who dates Donald while helping Charlie to go to Robert McKee. Cara Seymour is excellent as Amelia as a woman Charlie falls for but is unable to express himself to her.

Brian Cox is fantastic as Robert McKee whom Charlie goes to for advice as Cox has this amazing presence as McKee where there’s no bullshit about him as he displays a lot about what is needed for good writing. Chris Cooper is superb as John Laroche as this eccentric yet intriguing orchid poacher who has this strange fascination for orchids as he invites Orleans into his world only for things to get even weirder. Meryl Streep is brilliant as Susan Orleans as this journalist/writer who is intrigued by Laroche only to become confused by his eccentricities as she would deal with her own issues and secrets. Finally, there’s Nicolas Cage in a remarkable dual performance as Charlie and Donald Kaufman. In Donald, Cage is more upbeat and energetic while he is much more somber and agitated as Charlie where Cage shows a lot of the struggle that Charlie goes through as it’s one of Cage’s best performances.

Adaptation is a phenomenal film from Spike Jonze and screenwriter Charlie Kaufman. Thanks to its amazing cast led by Nicolas Cage, it’s a film that doesn’t just explore the difficulty of adapting another person’s work but also in the way that source can be confusing at times. It’s also a film that also makes fun of the typical clichés into the world of writing while also not afraid to give in to those clichés. In the end, Adaptation is a sensational film from Spike Jonze.

Spike Jonze Films: Being John Malkovich - Where the Wild Things Are - Tell Them Anything You Want: A Portrait of Maurice Sendak - Her - My Mutant Brain

Related: The Auteurs #54: Spike Jonze - The 25 Essential Videos of Spike Jonze

© thevoid99 2014

Crazy Heart

Originally Written and Posted at Epinions.com on 2/21/10 w/ Additional Edits & Revisions.

Based on Thomas Cobb’s novel, Crazy Heart tells the story of an aging country music singer whose life is unfulfilling as he is playing small bars and clubs while succumbing to alcoholism. A meeting with a young journalist/single mother changes his life while he is asked by his old protégée to come out of obscurity while dealing with demons. Written for the screen and directed by Scott Cooper, Crazy Heart is a tale of redemption and hope as Jeff Bridges plays the role of Bad Blake in what many consider to be one of his finest performances. Also starring Maggie Gyllenhaal, Beth Grant, and Jack Nation along with special appearances from co-producer Robert Duvall and Colin Farrell. Crazy Heart is an excellent yet entertaining musical-drama from Scott Cooper and company.

The film is a simple story about a 57-year old country/western singer named Bad Blake who was once popular as he has become a boozed, washed-up singer playing tiny clubs in the American Southwest who drives city to city at a truck. Upon meeting a journalist named Jean Craddock (Maggie Gyllenhaal) and getting the chance to open and write new songs for his former protégé Tommy Sweet (Colin Farrell). Blake’s life seems to be in an upswing but his alcoholism would cause trouble as he begins a relationship with Jean and her four-year old son Buddy (Jack Nation) while recuperating from a car accident as he has a hard time trying to beat the bottle with help from friend Wayne (Robert Duvall) in the hopes he can find redemption.

While the story is a bit familiar in comparison to another film about an aging figure trying to find redemption and a comeback in the form of Darren Aronofsky’s 2008 film The Wrestler. The story of an aging country singer trying to make a comeback and deal with his alcoholism is an appealing story despite being a bit clichéd. Still, screenwriter and director Scott Cooper does make the story engaging while providing strong supporting characters to be revolved around a figure like Bad Blake. A man who is charming and fun to be with but is also hard-headed and full of pride about what he wants to do.

In meeting Jean and her son Buddy, he finds a reason to maybe quit drinking and be the kind of person he never got to be for his own son. The character of Tommy Sweet is a man who idolizes Blake while wanting to return a favor so Blake can get his career back on track. Cooper’s direction is very good in terms of getting actors to dramatize a scene or capture what is going on in the country music scene. Even as he also take shots towards the modern world of country music which has become very polished and more pop in recent years though the characters of Tommy and Blake are anything but the commercialized world of country. The former of which is successful but maintains an authentic sound. Despite a few flaws in the story and directing that isn’t very flashy or stylized, Scott Cooper does create a solid film.

Cinematographer Barry Markowitz does some phenomenal work with the film’s colorful yet gritty cinematography to convey the roughness of Southwestern U.S. with some beautiful scenery of the sky in the daytime and evening scenes. The nighttime interiors for some of the club performances is wonderful for its intimate setting as Markowitz’s work is very good. Editor John Axelrod does a fine job with the film’s editing which is mostly straightforward with its cuts with some nice transitions and jump-cuts to get the film going. Production designer Waldemar Kalinowski along with set decorator Clara Curry and art director Ben Zeller do a real good job in capturing the grimy look of the halls and clubs that Blake performs in to convey the feel of the American Southwest.

Costume designer Doug Hall does some great work in the costumes, notably the ragged look of Blake along with a more prestigious look when he’s on stage despite his haggard persona. Sound editors Andrew DeCristofaro and Paula Fairfield along with sound designer Clara Murray do a fantastic job in capturing the intimate sounds of a club and the way things sounded like at the amphitheater and arenas Blake and Tommy Sweet play at.

The film’s music which is mostly written by T-Bone Burnett and Stephen Bruton is truly the film’s technical highlight. Sticking to traditional country with a bouncy rhythm and a simpler sound with no polished production. The music is truly mesmerizing as it also features the song The Weary Kind written by Burnett and Ryan Bingham who makes an appearance in the film singing a track. Along with the song Reflecting Light by Sam Phillips, a lot of the music is sung by Jeff Bridges while Colin Farrell also sings a couple as they both possess great singing voices that is very straightforward.

The casting by Mary Vernieu is wonderful with some notable small roles from noted character actress Beth Grant as an old groupie, Tom Bower as liquor store owner who gives Blake free booze, Ryan Bingham as a guitarist at the Pueblo club, Rick Dial as Jean’s uncle who plays with Blake in Santa Fe, Paul Herman as Blake’s manager, and Jack Nation as Jean’s four-year old son Buddy. Robert Duvall is superb in a small role as Blake’s old friend Wayne who helps Blake get his act together as Duvall is just a joy to watch. Colin Farrell delivers a surprising performance as Tommy Sweet, a popular country singer who idolizes Blake while wanting to give him a chance to become big again as Farrell’s performance is great as he also delivers a solid vocal performance.

Maggie Gyllenhaal is excellent as Jean Craddock, a journalist/single mother who is charmed by Blake but also is aware that she’s setting herself up for some trouble. Gyllenhaal’s performance is definitely a marvel to watch in how she tries to compose herself into some very emotional scenes without any kind of high drama. While it’s not up there with more noteworthy performances like Secretary, Happy Endings, and Stranger Than Fiction, it’s a performance that solidifies her as one of the best working actresses today.

Finally, there’s Jeff Bridges in what is definitely one of his greatest roles of his career. Using his friendly persona and a physicality that is definitely ragged but stunning to watch. Bridges definitely lives up to the character sported a dirty beard, looking a bit overweight, and playing to his vulnerability. Yet, he’s also someone with charm as he has great chemistry with Gyllenhaal along with some great scenes with Colin Farrell and Robert Duvall. Bridges is the heart and soul of the film as he definitely shows his charisma and depth as a performer when he is singing or just playing a guitar quietly. It’s definitely a role that shows that he is truly one of American cinema’s great actors.

Crazy Heart is a stellar film from Scott Cooper featuring a phenomenal performance from Jeff Bridges. Along with solid supporting work from Maggie Gyllenhaal, Colin Farrell, and Robert Duvall plus an amazing soundtrack. It’s a film that isn’t entirely original but one that is appealing. Fans of Jeff Bridges will definitely see the actor play a role that truly shows his talents as it is truly deserving of the accolades it’s getting. In the end, Crazy Heart is an enjoyable yet sobering film that is like a good country song with all of its crazy emotions that is carried by the brilliance of Jeff Bridges.

(Out of the Furnace)

© thevoid99 2013

Confessions of a Dangerous Mind

Based on biographical novel, Confessions of a Dangerous Mind is the story of the crazed life of famed TV game show host/producer Chuck Barris who led a double-life as the host of The Gong Show and claims that he was an agent for the CIA. Directed and starring George Clooney and screenplay by Charlie Kaufman, the film explores Barris’ life as well as the possibility that he was an assassin for the CIA as Sam Rockwell plays the controversial figure. Also starring Julia Roberts, Drew Barrymore, and Rutger Hauer. Confessions of a Dangerous Mind for all of its ambition and style is a mess of a film from George Clooney.

Alone in a hotel room and feeling paranoid, Chuck Barris starts to write about his life as a kid (Michael Cera) before becoming an adult where he took on various odd jobs to score chicks and briefly get married. Despite losing at bar brawls, Chuck’s break came when he worked as a watchdog for Dick Clark’s American Bandstand where he wrote the song Palisades Park for Freddy “Boom-Boom” Cannon as it scores a hit. While sleeping with a stagehand named Debbie (Maggie Gyllenhaal), Chuck meets Debbie’s roommate Penny (Drew Barrymore) as the two begin a relationship. While Chuck tries to pitch various TV shows for ABC, he is rejected until a bar fight catches the attention of CIA agent Jim Byrd (George Clooney) who takes Chuck in as an assassin.

After learning that The Dating Game gets the green light from ABC, Chuck’s show is a major hit as he and Penny live a great life until Chuck is asked to go on a mission with another assassin named Patricia Watson (Julia Roberts). He and Patricia have an affair while he is still having a relationship with Penny as another of his shows in The Newlywed Game becomes a hit. With his work as TV producer going well while doing assassin jobs on the side, Chuck scores his biggest hit in the mid-1970s with The Gong Show that he hosts. Despite being a big star, he is criticized for the decline of quality television while he meets another agent named Keeler (Rutger Hauer) who believes there’s a mole in the CIA.

Things for Chuck become complicated as his relationship with Penny suffers while he becomes paranoid over who the mole is as he asks Byrd who reveals why he recruited him. Living in fear and paranoia, Chuck tries to finish his book and find out who the mole is.

While it’s a bio-pic that is largely stylized with no clear indication whether it’s true or not. It is still an interesting story about the guy who hosted The Gong Show while he was supposedly a killer for the CIA. While Chuck Barris may be lying about these claims that he worked for the CIA, the idea itself does make it far more interesting while possibly indicating why he was so fucked up when he hosted The Gong Show.

Charlie Kaufman’s screenplay is probably the most straightforward and conventional script that he’s done as he does portray Barris as a well-meaning guy who is also a fuck-up. Kaufman does his best to balance the comedy, romance, drama, and suspense that is presented in the film but there isn’t enough to make all of those things to be very interesting or engaging. Particularly as Kaufman wasn’t able to do enough to make it more out there and play with the narrative due to what George Clooney wanted to do as the film’s director.

Clooney’s direction is very engaging and stylish for the way he creates amazing compositions where the humor is very off-the-wall while he also creates some entrancing moments in some of the dark, suspenseful moments. The problem is that Clooney doesn’t allow Kaufman’s script to be much more out there as he tries to integrate too many ideas where it includes scenes where real-life people who knew Barris would commentate. Some of those people interviewed had something to say while some of it felt a bit distracting. Despite some amazing moments in creating great scenes of humor and suspense, Clooney ends making a very messy film that doesn’t do enough to make it more interesting than its premise suggests.

Cinematographer Newton Thomas Sigel does a good job with the cinematography for much of its third act as he creates some very entrancing shots including Chuck and Byrd’s meeting about the mole. It’s the work in the film’s first half that feels overly-stylized in its look with flashy flares of lighting and tinted shots that goes a little overboard including in the flashback scenes that doesn’t work. Editor Stephen Mirrone does an excellent job with the editing to maintain a leisured pace for the film while creating some stylized montages for some of Chuck and Patricia’s assassinations with Chuck’s own work as a TV producer.

Production designer James D. Bissel does a fantastic job with the set pieces created to play up the differing period of the times from the late 1950s to the early 1980s. Notably the recreation of the game shows that Chuck Barris has produced including The Gong Show as it adds to the air of nostalgia presented in the film. Costume designer Renee April does a wonderful job with the costumes to play up the different periods that the women wear throughout the film . Visual effects supervisor Louis Morin does an excellent job in creating some of the visual effects for some of the look of the old TV footage to some of the entrancing pool meeting scene between Barris and Byrd.

Sound editors Aaron Glascock and Curt Schulkey do nice work on the sound design to create the air of violence that occurs in the film including some of the voiceover work that Barris does in the narration throughout the film. Music composer Alex Wurman creates a score that is quite playful to the humor with elements of jazz while creating a low-key piano score for some of the film’s darker moments.

The casting by Ellen Chenoweth is superb for the ensemble that is created which includes cameo appearances from Dick Clark, Jaye P. Morgan, Gene Patton aka Gene Gene the Dancing Machine, Jim Lange, and the real Chuck Barris plus two funny cameos from Clooney‘s close friends and co-stars from Ocean’s movies. Other small roles include producer Jerry Weintraub as an ABC executive, Richard Kind as a casting executive, Kristen Wilson as Chuck’s secretary Loretta, softcore film star Krista Allen as a woman Chuck meets at the Playboy mansion, Robert John Burke as a FCC investigator, Michael Cera as the young Chuck Barris, and Maggie Gyllenhaal as an American Bandstand stagehand Chuck sleeps with.

Rutger Hauer is excellent as CIA agent Keller who likes Chuck while revealing to him about the mole that is present in the CIA. George Clooney is terrific as the mysterious Jim Byrd who guides Chuck into the world of CIA while revealing why he recruited him. Julia Roberts is good as the femme fatale Patricia Watson who woos Chuck although Roberts is sort of miscast since she isn’t really the kind of person who can exude sex appeal. Drew Barrymore is wonderful as Chuck’s girlfriend Penny who tries to deal with Chuck’s success and the lifestyle that he’s living. Finally there’s Sam Rockwell in an amazing performance as Chuck Barris as Rockwell is the film’s big highlight. Rockwell gives a performance for the ages as he makes Barris into a very complex yet charismatic character who is a mess as Rockwell also exudes the paranoia and flaws of the man as it’s definitely Rockwell at his best.

Confessions of a Dangerous Mind is a good though very messy film from George Clooney and screenwriter Charlie Kaufman that includes a masterful performance from Sam Rockwell. While it’s a film that has a very interesting premise about the life of Chuck Barris. It’s a film where it tries too hard to be over-the-top and play to exaggerations while it tries to be so many things. Particularly as it’s among one of the weakest projects written by Charlie Kaufman as well as the weakest film that George Clooney has directed so far. In the end, Confessions of a Dangerous Mind is an interesting but uneven film from George Clooney that does include a magnificent performance from Sam Rockwell.

George Clooney Films: Good Night, and Good Luck - (Leatherheads) - The Ides of March - The Monuments Men

© thevoid99 2012

Secretary

Based on Mary Gaitskill’s short story Bad Behavior, Secretary is the story of a troubled young woman who becomes a secretary for a perfectionist lawyer where the two engage into a sadomasochistic relationship. Directed by Steven Shainberg and screenplay by Erin Cressida Wilson with story adaptation by Shainberg and Wilson. The film is an exploration of two people who bond through sadomasochism that is filled with romance, humor, and drama. Starring James Spader, Maggie Gyllenhaal, Jeremy Davies, Stephen McHattie, and Lesley Ann Warren. Secretary is a daring yet unconventional film from Steven Shainberg.

After returning from a mental hospital to attend her sister’s wedding, Lee Holloway (Maggie Gyllenhaal) is unsure about returning home which is dysfunctional due to her alcoholic father (Stephen McHattie) and her overprotective mother (Lesley Ann Warren). In an attempt to have a normal life, Lee finds an ad for a secretary as she is interviewed by an attorney named E. Edward Grey (James Spader). Lee gets the job as she works for Mr. Grey in writing letters for him and doing other errands where things are fine until a phone call from her father and an encounter with Mr. Grey’s ex-girlfriend Tricia O’Connor (Jessica Tuck). While Lee’s personal life has her gaining a boyfriend in Peter (Jeremy Davies), her work life starts to become overwhelming due to Mr. Grey’s perfectionist persona.

After an intimate conversation where Mr. Grey tells Lee to stop cutting herself, the relationship improves until Lee’s mistakes in her job lead to a moment where he invites her into his office where he spanks her. For Lee, it becomes a big awakening as she finds herself enjoying her job and begins to have feelings for Mr. Grey. When a personal matter concerning Lee’s family has her wanting to turn to Mr. Grey for help, the sadomasochistic relationship ends as he becomes distant. When Lee decides to make an attempt to connect with Mr. Grey, she starts to learn of his own shame as she tries to help him.

The film is about the strange relationship between two very odd people who engage into this sadomasochistic relationship where the man is turned on by her submissive behavior while the woman finds herself enjoying the submissive role. It’s a strange idea for a film that is a romantic comedy of sorts but also a great character study in how these two people can come together in the most unlikely circumstances. Erin Cressida Wilson’s script is very smart for the way she portrays both Lee and Mr. Grey as this unique couple who seem to enjoy having a sadomasochistic relationship where they’re allowed to be themselves. For Lee Holloway, she goes from this socially-awkward and lonely woman that comes from a very dysfunctional family and turns her into a more aware and open woman that doesn’t mind being the submissive.

Then there’s E. Edward Grey who is this individual where he’s introduced as this very lonely man that is unable to express his own sexual desires until Lee is willing to do anything he says where he is aroused by the fact that she’ll do what he does crawling on her hands and knees while holding a piece of paper on her mouth. While it may be acceptable in the office building that he works in, he’s unable to go beyond that when Lee tried to talk to him at his home but she realized that she was invading the very private home that he lives in. Mr. Grey is just as complicated as Lee because he has been through so many relationships that don’t work out while he is truly more fragile than Lee realized.

Wilson’s script gives director Steven Shainberg the chance to create a film that defies the conventions of a romantic film that has a lot of humor and drama. Through his stylish direction, Shainberg dwells into this world of this entrancing office building filled with plants and a small garden with tracking shots that includes a fantasy scene where Lee dreams about coming out of a flower as Mr. Grey is entranced by her. Shainberg also creates a lot of intimate moments in the conversation scenes between Lee and Mr. Grey while the sexual elements of the film isn’t very racy but still has an element of danger as far as the sadomasochism material handled. The overall work is a truly divine yet entrancing film from Steven Shainberg.

Cinematographer Steven Fierberg does a fantastic job with the film‘s photography from the brooding yet exotic look for the office building scenes to more sunnier and colorful look for many of the film‘s Californian exteriors. Editor Pam Wise, with additional work from Jay Rabinowitz, does an incredible job with the editing to create a wonderful montage of Lee and Mr. Grey’s blooming S&M relationship as well as some stylish dissolves and jump-cuts to play up the dramatic elements of the film. Production designer Amy Danger, along with art director Nick Ralbovsky and set decorators Michael Baker and Michael Murray, does a brilliant job with the very cold yet hypnotic look of the interior office building that Lee and Mr. Grey work at to the more quirky home of Lee and her family.

Costume designer Marjorie Bowers does an excellent job with the clothes that Lee wears from a girlish yet somewhat ragged look early on to a more professional yet sexier look as the film progresses. Visual effects supervisor Randal Balsmeyer does a nice job with the film‘s sole visual effects scene where Lee dreams of a great fantasy world with Mr. Grey. Sound editor Brian Langman does a terrific job with the sound to help capture the intimacy of the scenes between Lee and Mr. Grey.

The film’s score by Angelo Badalamenti is brilliant for its melodic-driven score that plays up to some of the dramatic moments of the film with somber piano pieces and bass-driven cuts. The film’s soundtrack, that is supervised by Beth Amy Rosenblatt, is very good for the music that appears such as cuts by Leonard Cohen and Lizzie West for big dramatic moments while music by acts like Little Richard, Cake, the Seeds, the Faint, Pete Belasco, and War appear in scenes played on location.

The casting by Ellen Parks is superb for the ensemble that is created as it features notable appearances from Patrick Bauchau as Lee’s doctor from the mental hospital, Amy Locane as Lee’s older sister, Oz Perkins as Lee’s new brother-in-law, Mary Joy and Michael Mantle as Peter’s parents, Lily Knight as a paralegal, and Jessica Tuck as Mr. Grey’s ex-girlfriend Tricia O’Connor. Stephen McHattie is very good as Lee’s depressed/alcoholic father while Lesley Ann Warren is also good as Lee’s worrisome yet kind-hearted mother. Jeremy Davies is excellent as Lee’s boyfriend Peter who tries to make her feel welcome only to be confused by her sadomasochistic behavior.

James Spader is phenomenal as E. Edward Grey, a controlling attorney who finds comfort in being the dominant to Lee’s submissive behavior only to realize that he might’ve taken it too far. It’s a very complex and compelling performance from Spader who is a man filled with shame over his sexual desires as it’s definitely one of Spader’s best role. Finally, there’s Maggie Gyllenhaal in her breakthrough performance as Lee Holloway. Gyllenhaal’s performance is definitely the most intriguing as she starts out as this very girlish yet awkward young woman that is truly a mess and then becomes this very professional yet sexually-hypnotic woman that enjoys being a submissive. It’s definitely the performance that put her in the spotlight while she and Spader have an amazing chemistry that is truly astounding to watch.

The 2003 Region 1 DVD (remastered in 2008) presents the film in a 16x9 widescreen with 5.1 Dolby Digital Surround Sound along with English and Spanish subtitles. The DVD also includes a few special features for its release that includes a feature-length audio commentary track with director Steven Shainberg and screenwriter Erin Cressida Wilson. The commentary is relaxed and fun where the two talk about elements of the production plus the performance of the actors as Shainberg cites Mike Figgis’ Leaving Las Vegas as an influence for the film. The DVD also includes a seven-minute behind the scenes featurette where Shainberg, James Spader, and Maggie Gyllenhaal talk about the film and some of the details that went into the making of Mr. Grey’s office.

The DVD also includes a photo gallery that features still and behind-the-scenes picture of the film plus an ad for the film’s screenplay book and trailers for Secretary and Shainberg’s 1996 debut film Hit Me starring Elias Koteas and William H. Macy.

Secretary is a sexy yet provocative film from Steven Shainberg that features outstanding performances from James Spader and Maggie Gyllenhaal. For audiences that wants a love story that defies conventions will definitely want to seek this out while find something interesting about the world of sadomasochism. It’s also film that gives voice to oddballs who feel lost in a conventional world that is able to take charge and make something of their own and be cool with it. In the end, Secretary is a glorious film from Steven Shainberg.

Related Reviews: Secretary screenplay book - (Secretary OST) - (Favorite Films #5: Secretary)

© thevoid99 2011