Written and directed by Alex Ross Perry, Her Smell is the story of a punk rock singer’s life of excess starts to take its toll upon being a mother as she deals with her band falling apart, dealing with old peers, and a new act on the rise. The film is an exploration of a woman dealing with changes as well as the fact that she is self-destructive as she hurts those including herself to the path of success. Starring Elisabeth Moss, Cara Delevingne, Ashley Benson, Gayle Rankin, Eric Stoltz, Amber Heard, Dylan Gelula, Agyness Deyn, Dan Stevens, and Virginia Madsen. Her Smell is a riveting and evocative film from Alex Ross Perry.
Stories about rock stardom and such often follow a formula in how they’re formed, how they become successful, more success, sex, drugs, alcohol, fights, they break-up, some tried to do solo careers, and then reunite. It’s a story that’s been told a million times yet what Alex Ross Perry does in this film is really the study of a singer whose love of rock n’ roll and excess would eventually takes its toll on herself, her family life, and her band. Notably as it’s told in five different scenes detailing the fall and resurrection of Becky Something (Elisabeth Moss) who is the singer/guitarist for the punk rock band Something She as there’s brief segments in between detailing the band’s rise. Perry’s script is more about Becky and her attempt to try and be this rock star as well as a mother despite the fact that she’s divorced and at odds with her ex-husband and her own mother. The five segments all play into Becky and her band in their good times but mostly bad times with the second and third segments showcasing Becky’s self-destructive behavior and how she destroys her relationships with those who care about her. The fourth and fifth takes places years after the events of the first three segments as it relates to what she lost but also her own fears.
Perry’s direction does have some style in its approach to long static shots as well as tracking shots in some parts of the film yet much of it is straightforward. Shot on various locations in New York City as well as the upstate area for one segment, the film play into these moments in time as the first segment is about a performance from Something She and its aftermath and the second segment is about a failed recording session that lead to the band’s break-up while a new band in Akergirls watch in horror. The usage of close-ups and medium shots don’t just add to the intimacy of some of the tension but also in how much Becky is willing to destroy herself and everyone else in her path just as some are trying to help her. Even as it would capture the chaos during a scene in the third act where Becky and Something She drummer Ali van der Wolff (Gayle Rankin) have an intense physical fight backstage.
There are a few wide shots in the film yet Perry chooses to focus on these moments that play into Becky’s wild behavior and her need to have answers whether it’s spiritual or as a way to maintain this persona as a wild punk rock star. There is a lot of attention to detail in what is going on with and around Becky as the dramatic tension that occurs such as a failed recording session that lead to the band’s break-up shows more attention towards Ali and bassist Marielle Hell (Agyness Deyn) who are struggling to keep it together but are aware that the band is done. By the time the film moves towards the fourth and fifth segments, things do quiet down as it play into Becky coming to terms with what she’s lost but also what she still has. Even towards the end as she tries to figure out if she has to play this wild persona or just be a mother to her daughter. Overall, Perry crafts an exhilarating yet intense film about a punk rock singer’s struggle to be all sorts of things including being a mother.
Cinematographer Sean William Price does brilliant work with the film’s cinematography as its usage of low-key interior lighting for some the backstage scenes and in some of the stage lighting as well as natural interior/exterior lighting for the segment at Becky’s home with some blurry flashes for some of the concert performances. Editor Robert Greene does excellent work with the editing as it is largely straightforward in letting shots linger for a while as well as providing a few rhythmic cuts for dramatic effect. Production designer Fletcher Chancey, with set decorator Paige Mitchell and art director John Arnos, does fantastic work with the look of some of the backstage area in some of the shows as well as the look of the studio and Becky’s home. Costume designer Amanda Ford does nice work with the costumes from some of the stylish clothes that the bands wear as well as the ragged look in their clothing.
Hair/makeup designer Amy L. Forsythe does terrific work with the look of the Akergirls in their colorful hairstyle as well as how they would evolve in the coming years in contrast to the chaotic look of Becky. Sound editor Ryan M. Price does amazing work with the film’s sound in the way music is presented live as well as the way music is recorded in a studio and other aspects of the sound as it plays into the chaos of Becky’s life. The film’s music by Keegan DeWitt and Alicia Bognanno is incredible with DeWitt providing a low-key ambient score for some of the dramatic moments of the film while Bognanno writes some of the original songs for Something She and Akergirls while music supervisor Rob Lowry provide a couple of songs that Becky sings including a song by Bryan Adams and one from Charles Manson.
The film’s superb cast feature some notable small roles and appearances from Daisy Pugh-Weiss as Becky’s daughter Tama, Hannah Gross as Tama’s stepmother Tiffany, Craig Butta as a studio recording engineer, Alexis Krauss as musician at the film’s final segment, Keith Poulson as Ali’s husband, Lindsay Burdge as Marielle’s partner, Eka Darville as a shaman who doesn’t seem to have Becky’s best interests, and Amber Heard in a small role as Becky’s former mentor Zelda E. Zekiel as a woman who is trying to help Becky to get her into the right path of life. The performances of Ashley Benson, Cara Delevingne, and Dylan Gelula in their respective roles as Roxie Rotten, Crassie Cassie, and Dottie O.Z. of the band Akergirls are fantastic as a new band who admire Becky as they see her as an influence only to realize how troubled she is to herself and to their own career. Eric Stoltz is excellent as the music manager Howard Goodman who manages both Something She and Akergirls as someone trying to maintain some control while starting to lose patience with Becky as he has a lot to lose with her drug abuse. Virginia Madsen is brilliant as Becky’s mother Ania as a woman who had seen Becky at her best and at her worst as she’s trying to help her but also knows when something horrible is to come.
Gayle Rankin and Agyness Deyn are amazing in their respective roles as Something She drummer Ali van der Wolff and bassist Marielle Hell as two women who are trying to keep the band together with the former as a drummer who is also wild but also in control until a major fight backstage while the latter is someone who is trying keep everything in control until she has had enough. Dan Stevens is incredible as Becky’s ex-husband Danny as a man who cares about Becky and their daughter yet is trying to get her help but also be there as a mother to their daughter. Finally, there’s Elisabeth Moss in a spectacular performance as Becky Something as the singer/guitarist for the band Something She as a woman just trying to be this wild persona and a mother to a young girl but is troubled by her drug abuse and need to control everything as it is Moss at her most energetic and most vulnerable as it is definitely the performance of her career.
Her Smell is a tremendous film from Alex Ross Perry that features a phenomenal leading performance from Elisabeth Moss. Along with its ensemble cast, fascinating character study, simplistic yet chilling presentation, and an energetic music soundtrack. It’s a film that explores a woman trying to balance responsibility and stardom but also destroy those including herself on her path as well as cope with everything she’s gained and lost. In the end, Her Smell is a sensational film from Alex Ross Perry.
Alex Ross Perry Films: (Impolex) – (The Color Wheel) – (Listen Up Philip) – (Queen of Earth) – (Golden Exits)
In the 51st week of 2020 for Wandering Through the Shelves' Thursday Movie Picks. We go into films directed by women as women filmmakers have been something a lot of people have been following though not much progress has been made in the industry in their favor. Here are my three picks as they’re all documentary films by women:
For a lot of coverage and in-depth study into the history of film, women have often been overlooked or erased from history yet the rediscovery into the works of Alice Guy-Blache has been a major revelation for cinema. Pamela B. Green’s documentary showcases the woman’s work and how much of a real pioneer she was to cinema in general. Featuring interviews with filmmakers and actors who would discover this woman’s work, it is a major film that allows a great pioneer to not just get her overdue recognition but also allow her work to be seen again.
2. The Go-Go’s
The fact that these women aren’t in the Rock and Roll Hall of Fame all because they didn’t like their first Rolling Stone magazine cover is proof of why the institution is such bullshit and that Jann Wenner is an aging queen who doesn’t know shit about music. Alison Ellwood’s documentary about the band’s career and impact in the early 1980s definitely showcase their importance and contribution to the history of rock music. Five women who all wrote and performed their own songs as they came from the L.A. punk scene yet had a lot more to offer as they rose high and fell hard. All five members talk about their many ups and downs while also proving that they still had something to say.
Kirsten Johnson’s autobiographical documentary about her work as a cinematographer/camera operator has showcasing everything she had seen and filmed for nearly 20 years. Whether it’s working for other filmmakers or shooting things in her home life, Johnson’s film just has this richness in what she films as well as the people and subject matter she covers throughout as it is truly something of its own that a lot of people need to see.
Directed by Frank Marshall and written by Mark Monroe, The Bee Gees: How Can You Mend a Broken Heart is the story of the legendary British pop group of three brothers who were popular in the 1960s and then became superstars in the mid to late 1970s and then take a back seat in the 1980s to be songwriters. The documentary film chronicles the group’s unique journey as it is told by those who worked with the group but also those they influenced and from the sole surviving Gibb brother in Barry who is carrying the group’s legacy. The result is a fascinating and heartfelt film from Frank Marshall.
The story of the Bee Gees that consists of the Gibb brothers in the eldest Barry and his younger twin brothers Robin and Maurice were born in Manchester as they moved to Australia with their family that included their youngest brother Andy. In Australia, the three brothers would hone their musical chops and be influenced by many acts including the Mills Brothers and later the Beatles prompting them to return to Britain where they would become a major-selling pop group with guitarist Vince Melouny and drummer Colin Peterson as they were managed by Robert Stigwood. The story of the Bee Gees is legendary as they were this pop group who scored a lot of hits in the 60s and early 70s yet a brief break-up in 1969 that lead to their reunion a year later where they had to deal with an ever-changing music scene only to change their sound in the mid-70s to something akin to the R&B music of the times.
The film doesn’t just play into the band’s history from the early 1960s to the late 1990s but also their influence and the many ups and downs they would endure during those times. Featuring archival interviews with Robin and Maurice from the late 1990s as well as other archival footage from TV talk shows and such with Barry talking from one of his homes in Miami. Associates such as Vince Melouny, longtime touring/sessions guitarist Alan Kendall, keyboardist Blue Weaver, drummer Dennis Byron, and producers Albhy Glauten and Karl Richardson all talk about the music and their contributions. Most notably a scene of how Glauten and Richardson created the rhythmic drum loop for the song Stayin’ Alive by taking drum samples from the song Night Fever since Byron was unavailable due to a family emergency.
Also interviewed aside from Maurice’s widow Yvonne and Robin’s widow Dwina are various producers and artists such as Mark Ronson, Noel Gallagher of Oasis, Nick Jonas of the Jonas Brothers, Chris Martin of Coldplay, Maurice Gibb’s first-wife Lulu, house music legend Vince Lawrence, and Eric Clapton as he was the one who suggested the Bee Gees to go to Miami to record their 1975 album Main Course. Gallagher and Jonas both discuss the many highs and lows of being in a group with siblings as well as the fact that when brothers sing together, it has a unique sound that is unmatched with anything else. The film also talk about the unfair and unfortunate backlash the Bee Gees endured after Saturday Night Fever and the disco craze as a club deejay from those original discotheques revealed that disco began as an underground thing for gays/lesbians, blacks, and Hispanics at the time but when it became mainstream. The shit hit the fan as people in the world of corporate industry put the name disco on anything to the point of overkill and the Bee Gees were an unfortunate target.
There’s a sequence where the Bee Gees played to a sell-out crowd in 1979 at the Oakland Arena as they were treated with large adulation that is then inter-cut with what happened on July 12, 1979 at Comiskey Park in Chicago where Vince Lawrence was an usher at the stadium as that was the infamous event that was Disco Demolition Night that was held between a doubleheader game between the Chicago White Sox and Detroit Tigers. Lawrence revealed that in that bin where all of the disco records were found and were to be destroyed that not all of those records were disco records. Some of the records were from R&B acts like Steve Wonder, Curtis Mayfield, and Marvin Gaye as it definitely showcased an ugly scene but also evidence that the event had a lot of racist and homophobic implications with the Bee Gees being a target because of their music.
With the help of cinematographer Michael Dwyer, a lot of the interviews that Marshall filmed are straightforward as it also play into some of the tragedy the band endured such as Andy Gibb’s death in 1988 due to heart failure relating to his drug addiction issues. What was more heartbreaking about his death was that the Bee Gees were going to announce him as an official fourth member as a way to help him. Editors Derek Boonstra and Robert A. Martinez do excellent work in cultivating a lot of the archival footage as well as rare home movies taken by the Bee Gees during their time including moments in Miami where the entire family was living there as if it was paradise. Sound editor Jonathan Greber does brilliant work in not just showcasing some of the demos of the songs but also in some of the audio interviews that play into some of the band’s history as well as the fact that Barry Gibb is the last Bee Gee standing.
The Bee Gees: How Can You Mend a Broken Heart is an incredible film from Frank Marshall. It’s a film that doesn’t just showcase the brilliance of one of the great pop acts of the 20th Century but also in how they influence artists and culture as well as the story of a family who use music to bring them together. While the film doesn’t touch upon every subject, the film does succeed in showing why they mattered then and still matter despite the fact that only one of the brothers is alive and is carrying on their legacy. In the end, The Bee Gees: How Can You Mend a Broken Heart is a sensational film from Frank Marshall.
In the 50th week of 2020 for Wandering Through the Shelves' Thursday Movie Picks. We go into the subject of movies for seniors/the elderly as it is clear that they see movies as well yet not a lot of films have been made for or about them. Fortunately, there are people who understand the concept of respect their elders as a reminder that young people are going to grow old too. Here are my three picks:
1. Tough Guys
What happens when a couple of gangsters get released from prison after a 30-year sentence to deal with a new world that is the 80s? Well, if you’re Burt Lancaster and Kirk Douglas who have to take shit from a bunch of dumbass young people, new rules, and being pursued by Eli Wallach over a contract. You just don’t take shit from anyone as it’s a fun comedy where Douglas and Lancaster prove they not only still got it but also do it with charm and wit with Wallach also managing to steal a few moments as it’s just a fun comedy featuring legends.
2. Out to Sea
From the often-underappreciated Martha Coolidge comes a buddy comedy starring Walter Matthau and Jack Lemmon about two friends who go on a cruise ship only to realize they’re working as dance hosts to avoid paying for the expensive tickets. It is a light-hearted and charming comedy that has Matthau and Lemmon play off of each other yet it’s the ensemble that adds to the film’s charm that includes Dyan Cannon, Gloria DeHaven, Rue McClanahan, Estelle Harris, Brent Spiner as the sniveling cruise director, Elaine Stritch, and Donald O’Connor where there is a great scene of O’Connor and Stritch having a little dance-off.
Alexander Payne’s 2013 drama about an old man walking to Nebraska in his belief that he’s won millions of dollars is probably one of his best films. Notably as it is sort of a road movie through the state of Nebraska as it features a career-defining performance from Bruce Dern as well as a hilarious supporting performance from June Squibb as Dern’s wife. It is a film that is quite somber as it plays more into a man wanting to leave behind something for his two adult sons as well as dealing with family issues from relatives and those who bear a grudge towards Dern’s character for all of the wrong reasons. Yet, it is still a hopeful film and one where it does show a man trying to maintain some dignity and tell everyone else who wronged him to go fuck themselves.
Written and directed by Terrence Malick, Song to Song is an experimental love story set in Austin, Texas and its respective music scene that involves two songwriters/musicians, a music mogul, and a waitress as they all take part in a strange love affair. The film is an offbeat love story that doesn’t feature a traditional script as it play into people living at the moment through all sorts of entanglements in their love for each other and for the music. Starring Michael Fassbender, Ryan Gosling, Rooney Mara, Natalie Portman, Val Kilmer, Holly Hunter, Berenice Marlohe, Lykke Li, and Cate Blanchett. Song to Song is a rapturous and evocative film from Terrence Malick.
Set mainly in Austin, Texas in its respective music and arts scene, the film revolves around two songwriters/musicians, a music mogul, and a waitress as they all take part in whirlwind of a love affair that would each play into their ambitions and desires. It’s a film that doesn’t have much plot nor does it feature a traditional narrative due to the fact that its writer/director Terrence Malick didn’t write a script and created everything through notes and what he can capture on film. Yet, the film plays more into the themes of these four people who all meet as they fall in love but deal with temptation, doubt, and the search for meaning. Especially as Faye (Rooney Mara) is trying to make it into the music industry as she falls for the slightly-successful BV (Ryan Gosling) as she gets him to meet music mogul/lover Cook (Michael Fassbender). Yet, Faye continues her tumultuous affair with Cook who would marry the waitress Rhonda (Natalie Portman) but things go into strange turns due to Cook wanting to engage more into his decadent lifestyle with Faye and BV both trying to find something.
Malick’s direction definitely plays into the loose nature of the film’s unconventional narrative as it has this sense of freewheeling approach in the way he films everything around him. Shot largely on location near and in Austin, Texas with some shots in Mexico for a scene where BV, Faye, and Cook take a trip to Mexico. The usage of wide and medium shots not only allow Malick to get a look into the surroundings that these characters encounter but also in its connection with the world itself. Even as Malick would have characters also encounter elements of nature as it play into their search for love and identity while also encountering the chaos in the Austin music scene. The camera would often be in the middle of the action whether it’s in a mosh pit or people dancing in a rave. Malick’s close-ups add to the film’s unconventional tone as he always play into these characters and all of the highs and lows they endure as the four principle characters of Faye, BV, Cook, and Rhonda also express their feelings through voice-over narration.
Though the film centers on this music and arts scene in Austin, there are also these spiritual elements in the film though a lot of is subtle as it relates to journeys of these four characters. Notably as Faye is filled with doubt over her relationship with BV who has some issues with Cook over business reasons. Even as she learned that BV has been in a past relationship with Swedish singer Lykke Li and another former flame in Amanda (Cate Blanchett) whom he would briefly reconnect despite the fact that Faye would also continue her tumultuous affair with Cook to the point that he would have her and Rhonda in a brief three-way affair. Cook is this metaphoric figure of temptation and decadence who would often lure Faye into his world to the point that Rhonda feels neglected, lost, and yearning for answers leading her to go to the world of faith. The usage of music plays into this idea of people bringing together yet it is also used for decadence in Cook who continuously tries to find some sort of meaning through drugs and partying.
The film’s third act is about the journeys that these four characters endure where Malick showcases this air of loss through the trappings of temptation and decadence with some trying to find a bigger meaning in their lives with others forced to accept reality as well as cope with some of their poor decisions. Still, there are people who do give them some guidance as a way to cope with loss but also on love as Malick brings that sense of reality and gracefulness to show that as hard as the world can hit someone. It is all about getting hit and taking it to move forward as it play into the story that these four characters endure. While there’s a lot that is happening and can meander at times due to the film’s lack of a conventional narrative, Malick is able to maintain something that is more of a thematic study set against this culture of music and art with the four people at the center of it. Overall, Malick crafts an intoxicating and compelling about four people going through their own desires, doubts, and identity issues in Austin, Texas.
Cinematographer Emmanuel Lubezki does incredible work with the film’s cinematography as its usage of natural lighting, available light, different film stocks, and digital photography adds to the look of the film with its vibrant colors as it is a major highlight of the film. Editors Rehman Nizar Ali, Hank Corwin, and Keith Fraase do amazing work with the editing with its stylish approach to jump-cuts and rhythmic cuts as it play into the film’s dream-like and gliding tone. Production designer Jack Fisk, with set decorator David Hack and art director Ruth De Jong, does brilliant work with the look of the homes of the characters including the hotel that Cook often parties at or the look of the stages at the South by Southwest music festival.
Costume designer Jacqueline West does excellent work with the costumes with its mixture of casual and stylish clothing including some of the designer clothes that some of the richer characters wear as well as the look of the music performers in the film. Sound designers Joel Dougherty and Will Patterson do superb work with the sound as it play into the atmosphere of the locations as well as how music sounds live and on stage as well as the way the voiceover narrations are mixed. Music supervisor Lauren Mikus does fantastic work with the film’s music soundtrack with its mixture of classical, rock, indie, electronic music, and other kinds ranging from classical cuts from Zbigniew Preisner, Gustav Mahler, Camile Saint-Saens, Maurice Ravel, Nicholas Britell, Avro Part, and Claude Debussy along with music from Iggy Pop, Public Image Ltd., the Black Lips, Florence + the Machines, Lykke Li, Patti Smith, the Red Hot Chili Peppers, Bob Dylan, Elmore James, Del Shannon, Neon Indian, and many others.
The casting by Francine Maisler and Lauren Grey is wonderful as it feature cameos from the Red Hot Chili Peppers, John Lydon, Florence Welch, Iggy Pop, Tegan & Sara, Die Antwoord, and the Black Lips as themselves as well as Swedish artist Lykke Li as a fictional version of herself as a former flame of BV and American punk rock legend Patti Smith as a woman who is helping Faye with a lot of advice about art and life. Other notable small roles include Linda Edmond as BV’s mother, Tom Sturridge and Austin Amelio as BV’s younger brothers, Val Kilmer as one of Cook’s clients in a performer named Duane, Dana Falconberry as Faye’s sister, Brady Coleman as Faye’s father, Neely Bingham as BV’s ailing father, and Holly Hunter in a fantastic performance as Rhonda’s mother Miranda who is eager to have a life without trouble but becomes concerned for her daughter’s well-being. Berenice Marlohe is excellent as the French artist Zoey whom Faye meets and has a brief affair with as a woman who would give Faye some attention. Cate Blanchett is brilliant in her small role as Amanda who is a former flame of BV as she rekindles her relationship with him but realizes there’s some cracks in the relationship.
Natalie Portman is incredible as Rhonda as a waitress/former kindergarten teacher who falls for Cook as she is tempted by what he offers but finds herself lost in his decadent lifestyle as she seeks to find something with more meaning. Michael Fassbender is amazing as Cook as a music mogul who is a man that offers a lot and wants to be part of the fun but gets upset whenever he doesn’t get what he wants as he is this charming figure of corruption and temptation. Ryan Gosling is remarkable as BV as a successful musician trying to figure out what to do next as he falls for Faye while dealing with some business and personal issues with Cook as it is a somber performance from Gosling as someone who has seen a lot and is searching for answers. Finally, there's Rooney Mara in a phenomenal performance as Faye as a musician trying to get her break despite her attachment with Cook and her growing feelings for BV as it has this air of radiance and anguish as it is one of Mara’s finest performances to date.
Song to Song is a sensational film from Terrence Malick. Featuring a great ensemble cast, rapturous visuals, a rich music soundtrack, and themes of identity, doubt, and temptation against the backdrop of a vibrant music and arts scene in Austin, Texas. It is a film that explore four people trying to find their way in the world in the music scene as well as endure many ideas despite the film’s unconventional narrative and lack of a strong plot which won’t appeal to a lot of people. In the end, Song to Song is a phenomenal film from Terrence Malick.
Written, directed, shot, and starring Kirsten Johnson, Cameraperson is an autobiographical documentary film about Johnson’s life as a cinematographer told through collages and footage that she shot. The film is a look into a woman’s life and work told by Johnson herself as she explores her worth as a cinematographer. The result is a rapturous and captivating film about a woman’s life captured through her work and on her life at home.
Told in the span of nearly 15-20 years and on various countries working as a cinematographer for both feature films and documentaries, the film revolves around the life of Kirsten Johnson and the things she encountered in her many journeys around the world. It’s a film that doesn’t have a narrative but rather a lot of fragmented stories based on the footage that Johnson had filmed including an unused excerpt from Michael Moore’s Fahrenheit 9/11 where Moore and a soldier are having a conversation about the latter’s oath that he had to sign with Johnson asking a few questions. Johnson doesn’t appear in the film herself except for one little moment involving her late mother late in the film as much of her focus is on whoever or whatever she’s filming. Among them are scenes set in Sarajevo and Foca, Bosnia where she meets a family with women who are still recovering from what happened to them at the war as she would meet them again five years later as she showed them the footage she filmed with them including the old woman making bread as she’s still kicking while smoking a cigarette.
The film also has Johnson going into life in Africa such as a couple of women cutting a tree in Darfur having been exiled from their home while a midwife is tending to an ailing newborn at a hospital. There is also footage of Johnson filming excerpts of footage relating to a trial over the death of an African-American who was dragged to death by a truck as well as talking to a half-blind boy in Afghanistan. The footage shows the actual chain that was used as it adds to some of the dark things that Johnson had filmed including some of the things that occur in parts of Africa and in Bosnia. With the help of editors Nels Bangerter and Amanda Laws as well as sound designer Eric Milano in cultivating all of the sound she had captured, Johnson uses a lot of the footage the she captured where it’s not just showing some of things she sees around the world but also at home.
Notably in footage relating to her mother who is suffering from dementia before her death as well as at her childhood home with her father and her twin children as it showcases some of the lighter moments of the film. The film’s music by Wellington Bowler, Carla Kihlstedt, and Dino Residbegovic, with vocals by Kathryn Bostic, does play into some of the film’s somber moments with its mixture of ambient and classical-based music. Particularly in the scenes set in Bosnia as it relate to places where mass graves were once held yet there is this feeling like a world is being rebuilt to create something that is hopeful.
Cameraperson is a phenomenal film from Kirsten Johnson. It is an unconventional yet exhilarating documentary film that has a woman tell her life story as a camera operator/cinematographer through some of the footage that she filmed in her own life but also in the people she meets. Even as it showcases her encounter with people who have suffered through the worst things in the world but managed to survive and live their lives. In the end, Cameraperson is a sensational film from Kirsten Johnson.
In the 49th week of 2020 for Wandering Through the Shelves' Thursday Movie Picks. We go into the subject of adaptations as films based on books have often create movies that are different from the books where they originated as it allows filmmakers to bring books to life but on their own terms. Here are my three picks of great adaptations by women directors of the 2010s:
Lynne Ramsay’s adaptation of Lionel Shriver’s novel about a mother who deals with the fact that her son killed a bunch of kids in school and so much more is definitely one of the most unsettling films of the 2010s. Ramsay’s first film in nine years following an attempt to create a film adaptation of The Lovely Bones that got taken away by Peter Jackson who ended up creating a very shitty film on that book. Yet, Ramsay’s adaptation of Shriver’s novel plays more into themes of death but it’s more about the aftermath of death in which a woman copes with being ostracized for being the mother of a young killer as she reflects on her time as a mother and ponders what did she do wrong as it features a mesmerizing performance from Tilda Swinton as well as an eerie performance from Ezra Miller as Kevin.
Based on the real-life events that was covered in a famous article by Vanity Fair, Sofia Coppola’s film about a group of young Hollywood kids who break into the mansions of some famous people to steal some of their belongings and such is a study of these kids wanting to belong in this rich and posh culture. Yet, the film also showcase this air of disconnect that these kids have with the real world and in their actions with some being remorseful for what they did while others want to enjoy this newfound notoriety. It is one of Coppola’s more accessible films but also a critique on celebrity culture and people’s fascination with a culture that praises people who don’t deserve to be famous.
Kelly Reichardt’s film that is based on a trio of short stories by Maile Meloy is an exploration of the lives of four women in a small town in Montana. The film revolves around the life of a lawyer trying to deal with a troubled client, a housewife and mother whose plan to create her new dream home reveal cracks in her marriage, and a night-school teacher who bonds with a lonely ranch hand who is eager to seek some connection. It is a film where not much happens as it’s more about women reacting to their situations and the environment around them as it is told with such richness and realism from a true artist like Reichardt.
Another year is coming to an end and in all honesty, 2020 fucking sucked. Having now set to complete this year's Blind Spot Series with Abbas Kiarostami's Koker Trilogy, the time has come to make an announcement for the next year as God forbid we all die in this fucking pandemic. My choices for next year's series has a lot to do with wanting to take on more films around the world but also classic films and films that are considered influential. Three of these picks are films directed by women as I feel like women don't get enough exposure as one of my choices is a film by an African-American woman. I also chose an animated film this year as well as a cult movie, foreign classics, and films that are also challenging. All of these films are from the latter half of the 20th Century to the year 2000. Here are the films of the 2021 Blind Spot Series in chronological order:
A Streetcar Named Desire
The Hitchhiker
The Great Escape
War and Peace
Pink Flamingos
Rainer Werner Fassbinder's BRD Trilogy (The Marriage of Maria Braun -
Lola - Veronika Voss)
We’re one more month away from what has been an extremely horrible year as nearly 13 million have been infected with COVID-19 and more than 268,000 people have died so far. A few weeks ago, my mother had a dinner party planned for herself and longtime family friends as they all hadn’t seen each other in a long time. I was wary about this dinner party and then just days before it was to happen. One of my mother’s friends got COVID and everything got cancelled but she’s doing fine now though I think not having the party was a good thing. It is a reminder of how hard reality can hit yet not everyone is still in the belief that bad things are coming. Even as the U.S. election is over with Joe Biden now set to become our next president but followers of Dookie Tank refuse to accept the results. I remember one weekend this month where me and my mother were going to the Barnes & Noble at Buckhead and on our way as we were about to drive past the governor’s mansion. Those dumbass MAGA supporters were there in protest and such as I wanted to give them the finger and tell them to go home, shut the fuck up, and fuck off.
Alas, that is our reality as on our way home having bought a few Xmas presents for ourselves and my nephew (who is getting really excited). There were a bunch of people at a new salon not wearing masks and having a good time as if nothing is happening just a block away from where my mother and I were living. The sheer sense of insanity and people just being stupid is something I’m dealing with just as I’m days away from turning 40. It’s a reality that I’m beginning to accept knowing that I hadn’t accomplished much of my life but I don’t really have a problem with that at all. Being an uncle to a boy and a young girl that is to come next year is actually fulfilling. Yes, I may not watch as many films as I want to or do ambitious things but it’s better than dealing with stupid people. Plus, I feel like I learned a lot more right now than I did in my teens and 20s. I will say that in my teens, I was taking a lot of things seriously as I was unsure about what to do.
In my 20s, I still had no idea what I wanted to do and thought I was going to know a lot about the world and fulfill these dreams that were unrealistic. By the time I entered my 30s, I realized I learned nothing at all and my 20s were disappointing. Having been through a lot in my 30s and dealing with a lot of things including death, depression, and disappointment. I’m about to come out of my 30s realizing that I shouldn’t take life so seriously but also hold on to those that you care about. Yes, my mom and my sister can be a pain in the ass at times but it’s better than dealing with them than ignorant assholes. Plus, age is nothing but a number though I think I’m mentally in my young 20s in my own emotional immaturity.
In the month of November, I saw a total of 22 films in 9 first-timers and 13 re-watches with one first-timer directed by a woman as part of the 52 Films by Women pledge. It’s an improvement of sorts from the last month though I will admit that this pandemic has stifled me immensely though I did get to see some good movies. The highlight of the month has definitely been my Blind Spot choice in Betty Blue. Here are my top 5 first-timers that I saw for November 2020:
One of two films that I saw on Disney+ with my nephew who loves Tangled as that is now one of several of his favorite films is this mini-sequel of sorts that serves as a precursor to the short-lived TV series. It’s a short that play into Rapunzel adjusting to life as a princess with Eugene as she also deals with people from her father’s past who have a grudge towards him. It’s an entertaining short that does feature a few songs while it also does tell the story of Rapunzel and Eugene going on new adventures.
The Rock and Roll Hall of Fame 2020 Induction Ceremony
While I admit to having many issues with the institution and people who run the Rock and Roll Hall of Fame as well as the fact that they continuously snub so many deserving acts that should be in there now. This year’s class was incredible as it featured managers Irving Azoff and Jon Landau whose work behind the scenes are important. The inductions for T. Rex, Whitney Houston, and the Notorious B.I.G. were handled with class with their family members accepting the award in their honor while members of the Doobie Brothers were able to have their say in the long overdue honor that they should’ve been given years ago. Then there’s two of my favorite acts whose induction I’m really happy for. First is Depeche Mode as they were inducted by Charlize Theron with comments from Billy Gibbons of ZZ Top praising their work as I’m happy that they got in out of spite for the fact the people who run the Rock and Roll Hall of Fame had never given them a good review or any due as this was a big fuck you to Jann Wenner and his piece of shit magazine that should’ve died more than 30 years ago.
Finally, there’s Nine Inch Nails who were inducted by Iggy Pop with comments from Miley Cyrus, filmmaker David Fincher, producer Mark Ronson, Saul Williams, and Interscope Records co-founder Jimmy Iovine about their legacy and contribution to popular music. Trent Reznor is the lone inductee who got to speak on behalf of his outfit as other members of the outfit who are inducted include Atticus Ross, Robin Finck, Alessandro Cortini, Ilan Rubin, Danny Lohner, and Chris Vrenna as they all were interviewed with Reznor as part of a discussion about the band’s legacy. Reznor also thanked the other members who weren’t inducted that include Charlie Clouser, Richard Patrick of Filter, Jeordie White, Aaron North, Josh Freese, Jerome Dillon, Justin Meldal-Johnsen, the late Jeff Ward, and the late James Wooley. This induction was special though it is a shame none of the living inductees were able to perform due to the pandemic as it would’ve made the whole event far more special.
The Lego Star Wars Holiday Special
An exclusive on Disney+ is probably the best thing the franchise has put out since The Last Jedi and it also makes fun of its own legacy. Featuring Kelly Marie Tran voicing her role as Rose Tico, the short plays into Rey trying to teach Finn while Poe tries to create the ultimate Life Day Party. Yet, Rey finds a crystal that would allow her to go back in time and hilarity ensues as it features a moody Darth Vader, Kylo Ren acting like a fanboy, and all sorts of funny things while it also take shots at some of the flaws of the film series that include Obi-Wan moaning about tax disputes. It is a joy to watch and something all Star Wars fans should see.
Suede-Live at Perivale
This 1999 documentary short film set during the release of the band’s fourth album Head Music is more of a promotional film for the new album as it explores the band making the new album as well as performing songs from that record. It’s something that fans would want to seek out as it play into the Britpop band not only continuing their dominance as one of the big four bands of the genre with Blur, Oasis, and Pulp but also proof that they were also trying something new and keep themselves fresh. Even though things behind the scenes at the time involving singer Brett Anderson’s drug use and keyboardist Neil Codling’s health issues were coming into play as the band would reveal many years later.
That is all for November 2020. Next up, I will make a formal announcement about the 2021 Blind Spot Series as I have some of the films that I want to see purchased or available at the moment as well as trying to catch up on 2020 releases from my never-ending DVR list as well as films such as Mank and maybe upcoming films like Soul and Wonder Woman 1984. I will also watch my final Blind Spot entry in Abbas Kiarostami’s Koker Trilogy to finish the year.
Before I sign off, given the fact that so many people have died this year including most recently Alex Trebek of Jeopardy. There is one person close to my heart that meant a lot to my father as this was someone I watched growing up over the years and that is Diego Armando Maradona. People will say that Pele is the greatest footballer but I highly disagree despite his accomplishments. For me and for my dad, it was Maradona. The man was a god in the way he dribbled the ball with his feet, his speed, his approach to misdirection, his play-making, and the way he just scored goals. He was also human in how he dealt with setbacks but also didn’t take shit from anyone including FIFA as he refused to be their cabana boy like Pele. Maradona was a complicated figure but that is probably why he is so beloved because he wasn’t afraid to be human. For the people in Argentina and the people in Napoli, Italy, I’m sure this loss is immense. I also learned that he was Kobe Bryant’s favorite footballer which says a lot about two iconic figures in sport who mean a lot to everyone. Wherever they are, I hope Kobe and Maradona just have a laugh while Maradona is chatting with my dad about those goals. Gracias Diego, we will miss you.
Note: The Following is also a contributing piece to the 2020 Edition of Girl Week hosted by Wendell of Dell on Movies.
Based on the novel 37 2 le matin by Philippe Dijan, Betty Blue is the story of an aspiring novelist who meets a young woman in a beach town in France as they engage into a tumultuous and chaotic affair. Written for the screen and directed by Jean-Jacques Beineix, the film is an exploration of a love affair that goes into great extremes as it relates to this easygoing man and this troubled and erratic young woman. Starring Jean-Hughes Anglade, Beatrice Dalle, Gerard Darmon, Consuelo de Haviland, Clementine Celarie, and Jacques Mathou. Betty Blue is a ravishing yet intense film from Jean-Jacques Beineix.
The film is about a tumultuous love affair between a thirty-something man and a 19-year old woman as they meet in a beach town in France as they would endure a relationship filled with many ups and downs as well as one of immense turmoil. It’s a film that explores this relationship of great extremes of a man who is just trying to find himself and wonders if he can make it as a novelist where he meets this young woman who is wild and energetic but also has these intense mood swings when things go wrong. The film’s screenplay by Jean-Jacques Beineix explores this relationship as it is largely told from the perspective of Zorg (Jean-Hughes Anglade) who meets Betty (Beatrice Dalle) at the beach and immediately begin this love affair that is intense with passion and terror with Zorg narrating his own experiences with Betty. Their time at the beach town of Gruissan would be brief as they would travel to Paris and later the French countryside town of Marvejols where they try to find a stable life and opportunities with Zorg hoping to be published by the manuscript Betty had created for him. They would also meet an assortment of people who would drive their relationship to new highs and new lows.
Beineix’s direction has elements of style in the compositions he creates yet there is also something entrancing in his overall presentation as it is shot on these different locations in Gruissan, Paris, and Marvejols as they all represent the wild mood swings of Betty and the journey that she and Zorg would take. Beineix’s wide shots and usage of tracking shots add to the beauty of some of the scenery that includes shots in the beaches of Gruissan to a chase scene at night in the streets of Marvejols as it has something that is gripping and unpredictable. There are also these intimate moments in the film with its usage of close-ups and medium shots as it play into the romance with lots of coverage on full-frontal nudity from both Zorg and Betty as the first scene of the film is the two of them having intense sex where it blurs the line of whether the actors are really doing it or faking it real good.
Beineix also maintains this air of danger as it relates to Betty’s unstable behavior whether it’s her throwing things at the bungalow she and Zorg are staying in or just going after a publisher all because he hated Zorg’s book. The film, in its original 185-minute running time, play into this rollercoaster of a relationship as those who observe Betty and Zorg as it includes people in Paris and Marvejols with the latter trying to do what he can to make Betty happy. The film’s third act is about that search for stability and it would happen for a brief moment until something horrific occurs as it play into chaos as well as the role Betty has for Zorg. Yet, Zorg is intent on trying to save her no matter how impulsive, destructive, and delusional she is in this strange yet whirlwind act of love. Overall, Beineix crafts a riveting and exhilarating film about a love affair between a wannabe writer and his young yet wild girlfriend.
Cinematographer Jean-Francois Robin does incredible work with the film’s cinematography as it is a major highlight of the film with its usage of vibrant colors, stylish shading, low-key lighting, and its approach to naturalism for some of the exterior scenes in the day. Editors Monique Prim and Yves Deschamps, with additional work from Marie-Aimee Debril for its original 185-minute cut, does excellent work with the editing as it is largely straightforward in its approach to drama with some jump-cuts to play into the chaotic elements of the film as well as a few slow-motion shots. Production designer Carlos Conti and set decorator Jacques Leguillon do brilliant work with the look of the bungalow that Zorg and Betty were living in as well as re-painting as well as the other homes they would live into play into the progress of their romance. Costume designer Elisabeth Tavernier does fantastic work with the costumes as it help enhance the film’s look whether it’s a red dress that Betty wears or some of the casual yet colorful clothes that Zorg wears.
Hair/makeup designer Judith Gayo does terrific work with the look of Betty in her wild hairstyle as well as a look that she would sport late in the film. The sound work of Pierre Befve and Dominique Hennequin do superb work with the film’s sound as it help play into the atmosphere in how music is sound on location as well as some of the quieter moments in the film. The film’s music by Gabriel Yared is phenomenal as its mixture of soothing saxophone pieces with elements of strings, circus-like music, and other textures is a major highlight of the film as it help play into the drama and chaos.
The casting by Dominique Besnehard is wonderful as it feature some notable small roles and appearances from Dominique Pinon as a drug dealer Zorg meets in a bathroom, Philippe Laudenbach as a posh publisher that Betty beats up, Claude Confortes as the fat and sleazy bungalows proprietor, Jean-Pierre Bisson as a police commissioner Zorg confers with about his own manuscript that was also rejected by pretentious publishers, and Vincent Lindon as a young police officer in Marvejols who isn’t fond of Zorg at first until he realizes that he means well. Jacques Mathou and Clementine Celarie are superb in their respective roles as the husband-and-wife team of Bob and Annie with the former being a friendly markets owner trying to help them out while the latter is a sex-starved woman trying to seduce Zorg every way she can. Consuelo de Haviland is excellent as Betty’s friend Lisa who owns a hotel in Paris where she allows Betty and Zorg to stay for a bit while trying to help Betty any way she can. Gerard Darmon is brilliant as Eddy as Lisa’s boyfriend who owns a pizzeria as he helps Zorg out with publishers while later taking Zorg and Betty to Marvejols for his own reasons as he gives them a new home.
Finally, there’s the duo of Jean-Hughes Anglade and Beatrice Dalle in phenomenal performances in their respective roles as Zorg and Betty. Anglade’s performance has him be this man that is easy-going but also frustrated at times where he escapes through having a good time and drinking yet is also troubled by Betty’s mood swings as it is low-key at times but also has moments of humor. Dalle’s performance as the titular character is a debut performance that is unforgettable in terms of not just this air of charisma and energy but also in displaying this pain and anguish this young woman is dealing with. Even as she would do some violent actions to others as well as herself where there is something dangerous in what Dalle does yet it adds so much to everything she’s doing as she and Anglade also have this chemistry that is just riveting to watch.
Betty Blue is a tremendous film from Jean-Jacques Beineix that features great performances from Jean-Hughes Anglade and Beatrice Dalle. Along with its ravishing visuals, Gabriel Yared’s intoxicating score, themes of love at its most extreme, supporting cast, and its gorgeous locations. The film is definitely a love story that doesn’t play by the rules nor does it shy away from its display of sex and violence as well as its exploration of mental illness and searching for meaning through love. In the end, Betty Blue is an outstanding film from Jean-Jacques Beineix.
Jean-Jacques Beineix Films: (Diva (1981 film)) – (Moon in the Gutter) – (Roselyn et les lions) – (Les Enfants de Roumanie) – (IP5: L’ile aux pachydermes) – (Otaku: fils de l’empire du virtuel) – (Place Cichy sans complexe) – (Assigne a residence) – (Mortel transfert)
In the 47th week of 2020 for Wandering Through the Shelves' Thursday Movie Picks. We go into the subject of movies about villains. Villains are often more interesting than the heroes themselves where they definitely showcase a whole lot more nuances that no one expects. Here are my three picks:
Oliver Hirschbiegel’s film about the final days in the life of Adolf Hitler told from the perspective of his former secretary is an unexpected bio-pic of sorts as it showcases one of the most evil men of the 20th Century dealing with failure and the end. Starring Bruno Ganz as Hitler, it is a film that is now more famous for a scene of Hitler just losing it as it’s become this wave of Internet memes that became a life of its own.
The third and the final of the Star Wars prequel film series by George Lucas is definitely the best film of that trilogy despite its flaws. Yet, it is an exploration of a young man’s descent as he becomes frustrated by the Jedi council as well as the expectation that he’s to become a father with Chancellor Palpatine trying to play into his ego. It is a film that play into the final days of the Clone Wars but also an unexpected betrayal in which Anakin Skywalker becomes Darth Vader.
Part of the extremely-popular and groundbreaking cinematic universe known as the Marvel Cinematic Universe, the 2018 film maybe be about the Avengers and various good guys going against this villain in Thanos yet the film is more about him. It is the film where audiences get to know this titan properly as he is someone who has this belief that if he gathered all six infinity stones and wipe out half of civilization all across the galaxy. He would save everything and everyone as Josh Brolin’s performance as this figure is truly one of the great performances of a villain as he just proves to be this formidable force against the Avengers in ways that they didn’t expect.
Directed and starring Maya Deren and Alexander Hammid and written and edited by Deren, Meshes of the Afternoon is a 19-minute experimental film about a woman who dreams of certain things that blur her idea of reality. The film is a take on the idea of surrealism as it play into the idea of reality and fantasy. The result is a riveting and evocative film from Maya Deren and Alexander Hammid.
The film revolves around the dreams of a woman as it play into the idea of surrealism and the trappings of domesticity. It’s a film that plays into things that a woman is dreaming about as she sees Death lurking around her home carrying a flower while she tries to catch him as she would see a doppelganger of herself and another. Sometimes carrying a key or a knife as it play into what this woman might be imagining as it really plays more into a woman’s state of mind as well as the world she’s in. There isn’t much of a script as Maya Deren and Alexander Hammid just aim for the visuals to tell the story rather than base everything on a traditional narrative. With Hammid being the film’s cinematographer as it is shot in grainy black-and-white film stock, Deren and Hammid play into element of repetition as well as this idea of surrealism. The direction also include these gazing shots that is often shown from a second story window along with these interior shots that play into this woman looking around whether she is dreaming or is she in a dream-within-a-dream.
The direction also has these elements through Deren’s editing as it adds to the surrealism that include a scene of three versions of the woman each taking an object and what is the outcome. Adding to the suspense in a score that was added in its 1959 release is music by Teiji Ito who uses an array of sounds and discordant textures that play into the film’s eerie tone. Even as Ito’s score just enhances the sense of the unknown where the film also maintains this air of surrealism that includes Deren’s performance as the woman and Hammid as both the man and the mysterious black-cloaked, mirror-faced representation of Death. Overall, Deren and Hammid craft a strange yet exhilarating film about a woman’s dreams and its eerie mediation of identity.
Meshes of the Afternoon is a tremendous film from Maya Deren and Alexander Hammid. It’s a wondrous 19-minute experimental short film that explore not just identity and dreams but also a woman trying to find meaning in what she’s seeing. In the end, Meshes of the Afternoon is a spectacular film from Maya Deren and Alexander Hammid.
Maya Deren Films: (The Witch’s Cradle) – (At Land) – (A Study in Choreography for Camera) – (Ritual in Transfigured Time) – (The Private Life of a Cat) – (Meditation on Violence) – (Medusa (1949 film)) – (Ensemble for Somnambulists) – (The Very Eye of Night) – (Season of Stranger) – (Divine Horsemen) – (The Living Gods of Haiti)
Based on the character created by Sacha Baron Cohen, Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan is the sequel to the 2006 film about the Kazakhstan journalist who returns to America in hopes to bring new relations with the country for Kazakhstan by offering his daughter to the American vice president during the U.S. Presidential elections and the COVID-19 pandemic. Directed by Jason Woliner and screenplay by Sacha Baron Cohen, Peter Baynham, Jena Friedman, Anthony Hines, Lee Kern, Dan Mazer, Erica Rivinoja, and Dan Swimer from a story by Cohen, Swimer, Anthony Hines, and Nina Pedrad, the film has the trouble-making Kazakhstan journalist go to America where he’s joined by his 15-year old daughter as they explore the country during a tumultuous time as Cohen reprises the role of Borat Sagdiyev with Maria Bakalova as his daughter Tutar. Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan is a wild and exhilarating film from Jason Woliner.
Fourteen years after Borat Sagdiyev went to America where he brought a lot of exposure to Kazakhstan only to be sent to the gulag with the country’s reputation in tatters due to his exploits. The film has the journalist return to America in the hopes to restore relations with Kazakhstan by offering a monkey as a gift to its leaders. Yet, upon arriving to the U.S., Borat learned that his daughter Tutar had smuggled herself and killed the monkey where Borat realizes that he can offer her as a gift to the country. It’s a film that has this journalist who doesn’t know much about anything other than what he learned from his own country as he takes his daughter on this adventure through America during a tumultuous time in its presidential election as well as the COVID-19 pandemic. Along the way during this road trip through America, Borat learns about Tutar as well as dealing with everything he’s been taught about the ways of the world including a book about how to deal with girls/women in regards to Tutar.
During the course of the entire film as the two try to understand American culture with Borat having to take on many disguises as he’s already recognized from his reports years ago. The film’s screenplay doesn’t have much of a plot yet it does show some advancement in the character development of both Borat and Tutar with the former becoming more concerned for her as a father yet he has to deliver her to the American Vice President Mike Pence or anyone else in the current administration so he can avoid more trouble in Kazakhstan. For the latter, she would discover a world that is far removed from what she knows other than just living in a squalor and dreaming of living in a golden cage like the American first lady. Yet, she would also learn about how women in America live both conservative and liberal as it would lead to a brief split between her and her father.
Jason Woliner’s direction definitely plays up the mockumentary-style that was told in the previous film yet considering that it was shot largely on location in the U.S. during what was (and currently as of November 2020) a tumultuous period at the time during its presidential election and worldwide COVID-19 pandemic. While a lot of the compositions are straightforward with Woliner and cinematographer Luke Geissbuhler shooting everything with Geissbuhler as much of the photography is straightforward with some available light used for some of the interior/exterior scenes at night. Yet, there is something free-wielding into the fact that both Borat and Tutar go into events such as a debutante ball or other events where they shock people who have no idea who they really are. The sense of the unknown and shock factor add to the humor while there are also scenes that prove to be touching such as Borat going into a synagogue as a way to cope with loss where he meets Holocaust survivor Judith Dim Evans.
Scenes that include Tutar meeting and learning ideas from professional babysitter Jeanise Jones also have humor but also some heart. The moments where Borat meet QAnon believers Jerry Holleman and Jim Russell who take Borat in during quarantine reveal a kindness as Borat doesn’t make fun of them but show them as actual human beings. Still, there are some hilarious moments such as Borat in a costume as the American president trying to crash a conservative convention featuring Mike Pence while him in another disguise as Country Steve at a MAGA rally prove to be funny. Yet, the film’s climax that involves former New York City mayor Rudy Giuliani as his appearance in the film is the most shocking as he is unaware of who both Borat and Tutar are. Especially since the latter is a 15-year old girl yet Giuliani seems to have no problem with that as his actions in the film prove that he’s not just immoral but also a disgusting human being as it definitely breaks aspects of the fourth wall despite the fact that Giuliani is unaware that he’s in a movie. Overall, Woliner crafts a witty yet satirical film about a journalist and his daughter traveling to America to restore talks with their country of Kazakhstan.
Editors Craig Alpert, Michael Giambra, and James Thomas do excellent work with the editing as it is largely straightforward but also in a few montages and slow-motion shots. Production designer David Saenz de Maturana, with set decorators Jill McGraw and Bryan Walior plus art directors Vraciu Eduard Daniel, John Lavin, and Silvia Nancu, does amazing work with the look of some of the set design for some of the scenes set in Kazakhstan as well as the look of the truck and horse carriage that Borat drives through America. Costume designer Erinn Knight does fantastic work with some of the clothes that Borat and Tutar would wear during their journey as it play into some funny moments but also moments of character development.
Special makeup effects artists Barney Burman, Laura Dandridge, and Ragnar Jorunndottir, plus hair designer Peter Swords King, do incredible work with the look of some of the disguises that Borat would wear to not be recognized that are funny as well as the look of Tutar early in the film before her makeover. Sound editors Andrew DeCristofaro and Darren “Sunny” Warkentin do superb work with the sound in capturing some of the available sound on location as well as some sound montages that play into the issues that Borat has to face in case he failed his mission. The film’s music by Erran Baron Cohen does brilliant work with the film’s music with its humorous approach to Eastern European folk music with some brass arrangements and such while music supervisor Richard Henderson provides a fun soundtrack that features an array of pop, hip-hop, rock, and country with some Eastern European folk spin on a few of those songs as it also includes a country original that Borat sings as Country Steve in Wuhan Flu Song which is quite catchy.
The casting by Nancy Bishop and Kris Redding is wonderful for not just the actors they got to appear in the film but also the real-life people who were unaware that they were being filmed as real-life people such as the professional babysitter Jeanise Jones, Holocaust survivor Judith Dim Evans (whom the film is dedicated to), QAnon followers Jerry Holleman and Jim Russell as they come off as genuine and nice people who do show some humanity. Especially Holleman and Russell who are two decent men that have their hearts in the right place despite their politics and the misinformation they’re being fed. Others such as Instagram influencer Mary Chanel, salesman Bryan Patrick Snyder, and debutante coach Dr. Jean Sheffield are also worth noting as kind people while the film also feature cameo appearances from Tom Hanks as himself (one of the few who knew what was going on), American vice president Mike Pence, and Rudy Giuliani as themselves with Giuliani being the most infamous person on the film due to his immoral actions.
Dani Popescu is excellent as Kazakhstan’s leader Premier Nursultan Nazarbayev as a political official who would send Borat to America in the hope that Borat would redeem himself and the country though he has an ulterior motive to send Borat to the U.S. Finally, there’s the duo of Sacha Baron Cohen and Maria Bakalova in phenomenal performances in their respective roles as the father-daughter duo of Borat and Tutar Sagdiyev. Bakalova’s performance is the true discovery as she provides not just this are of energy and innocence but also the willingness to take things really far as well as provide a lot of the film’s heartfelt moments. Cohen’s performance is lively in a man that is not just known for creating mischief but also deal with what is at stake for himself where he also learns about some harsh truths including his own misogynist attitude as it relates to Tutar. Cohen and Bakalova together aren’t just a joy to watch in how funny they are but also play into these tender moments of a father and daughter learning more about each other but also realize that they bring the best in each other as they’re the real highlight of the film.
Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan is a spectacular film from Jason Woliner that features tremendous performances from Sacha Baron Cohen and Maria Bakalova. While it may not be as outrageous as its predecessor, it is a film that manages to be so much more of not just exploring American culture from a foreigner’s perspective but also a journey of a father and daughter bonding together. Even as it still manages to be funny and shocking that includes an unforgettable moment involving Rudy Giuliani who is indeed an irredeemable and inapprehensible person who should be in prison and rot in prison. In the end, Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan is a sensational film from Jason Woliner.
Related: (Ali G Indahouse) - (Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan) – (Bruno (2009 film)) – (The Dictator (2012 film)) – (Grimsby)
