Flight (2012 film)

Directed by Robert Zemeckis and written by John Gatins, Flight is the story of a substance-abusing airline pilot who manages to stop an airplane from crashing as he later tries to deal with addiction to drugs and alcohol. The film marks a return for Robert Zemeckis after a period of helming motion-capture animated films as he explores a man dealing with his addiction and actions. Starring Denzel Washington, Don Cheadle, Kelly Reilly, John Goodman, Bruce Greenwood, and Melissa Leo. Flight is a harrowing yet gripping film from Robert Zemeckis.

The film is this exploration into the life of an airline pilot who is brilliant but troubled by his substance abuse when he suddenly does the impossible and save a bunch of lives during a crash landing that could’ve killed everyone on board. Yet, he not only deals with the fact that there were a few people that did die but also the questions into whether he’s a hero or was he negligent in his role during this event. In turn, Captain Whip Whitaker (Denzel Washington) is forced to face not just what he did but also his substance abuse as he’s an alcoholic who also occasionally does some cocaine. While meeting a recovering heroin addict in Nicole (Kelly Reilly), he tries to deal with the lies he has created as friends try to help him yet the guilt over the lives that were lost and his actions continue to haunt him. It’s a film that is about a man dealing with guilt where he would eventually reach his bottom.

John Gatins’ screenplay is largely a character study about Whitaker as he’s a man that is divorced and he doesn’t see his son very much while he spends most of his time drinking and doing some cocaine with a flight attendant. He’s even intoxicated during this flight where everyone could’ve died but he has somehow managed to pull something off that some describe as miraculous. The film’s first act not only follows Whitaker’s day where he nearly crashed the plane but also Nicole who would reach her bottom after nearly dying of a heroin overdose. Whitaker’s encounter with Nicole would have him thinking about getting sober but his demons would often come back which would threaten their relationship as Nicole is eager to stay clean.

Adding to the chaos of Whitaker’s life is an impending hearing he has to face about his role where he asks those to lie for him so he can save his own skin. Still, there are those like his friend Charlie (Bruce Greenwood) who wants to help as does Whitaker’s lawyer Hugh Lang (Don Cheadle) but Whitaker proves too much to be a man who is just unraveling. Especially as he is convinced that he’s failed as a husband and father as he hopes this hearing he is to attend will get him back on a plane and just do what he does without compromise.

Robert Zemeckis’ direction is unique in not just some of the way he presents the drama but also in the fact that it is a story of a man not willing to face his demons as he is waiting to hit his bottom. Much of the direction in terms of the drama is pretty straightforward but also entrancing in some of the close-ups he creates to showcase the sense of pain and denial that Whitaker is dealing with. He also puts in some little details into the compositions such as the line of coke that is on a small mirror or a tiny bottle of vodka. There is a sense of unpredictability in the way Zemeckis captures a man that could be falling apart one day or be sober the next though it all plays into Whitaker’s state of mind as he just wants to self-destruct or lash out at someone. Still, Zemeckis wants to present Whitaker as a good man in a scene where he helps Nicole move out of her apartment where he fights off her landlord as he would offer her a place to stay. Even as he accompanies to meetings where Zemeckis has the camera on a person talking as well as Whitaker’s reaction where it does play into a sense of foreshadow.

The plane crash sequence is definitely one that is filled with terror and gripping suspense where Zemeckis maintains a claustrophobic intimacy of what goes on in the cockpit as well as where the passengers are sitting as the plane would go upside down. The shots of the plane from the outside are quite spectacular to play into the horror and the sense of the impossible that Whitaker pulled off. Still, that moment would be shown in numerous occasions including the hearing that Whitaker attends as it’s definitely one of the most chilling moments of the film as it is also its climax. One that is just unforgettable not just in its dramatic impact but also in the way Whitaker has to face not just truths about himself but everything else he did in that day. Overall, Robert Zemeckis creates a very powerful drama about a man facing his own demons and the lies that he surrounds himself with.

Cinematographer Don Burgess does excellent work with the film‘s cinematography from some of daytime locations in Atlanta as well as the scenes in the Whitaker farm to some of the interior scenes such as some shots in hotels and the bars that Whitaker goes to. Editor Jeremiah O’Driscoll does brilliant work with the editing from the use of rhythmic cuts for the film‘s intense moments in the plane to some of the stylish cuts for some of the film‘s dramatic moments. Production designer Nelson Coates, with set decorator James Edward Farrell Jr. and art director David Lazan does fantastic work with the set pieces such as the plane as well as the farm that Whitaker lives in as a sanctuary to get away from the press and the world.

Costume designer Louise Frogley does terrific work with the costumes where it‘s mostly casual with the exception of the hippie-like look of Whitaker‘s friend/drug dealer Harling. Visual effects supervisors Kevin Baillee and Hitesh Shah do amazing work with the visual effects for the scene of the plane where it plays into that sense of danger where it looks like it‘s going to crash as it‘s one of the film‘s major highlights. Sound designers Dennis Leonard and Randy Thom do superb work with the sound to capture what was going on inside that plane as well as some of the sound mixing to play into the troubled state of mind from Whitaker as well as Nicole early in the film. The film’s music by Alan Silvestri is wonderful for its broad orchestral score for some of the film’s intense moments along with low-key cuts to underscore the drama while its soundtrack contains a mix of music from the Rolling Stones, Joe Cocker, Marvin Gaye, the Red Hot Chili Peppers, and several others.

The casting by Scot Boland and Victoria Burrows is incredible for the ensemble that is created as it features some notable small performances from Nadine Velazquez as the stewardess Whitaker is with in the beginning of the film, Peter Geraty as the airline owner who wants to punish Whitaker for making him lose money, Garcelle Beauvais as Whitaker’s ex-wife Deana, Justin Martin as Whitaker’s son who doesn’t want to see him, Tamara Tunie as a flight attendant that survived the crash as she knows about Whitaker’s substance abuse, and James Badge Dale in a very memorable one-scene performance as a cancer patient Whitaker and Nicole meet at the hospital. Brian Geraghty is terrific as Whitaker’s co-pilot Ken Evans who would survive the crash as he would be a key person that would force Whitaker to confront his demons. Melissa Leo is wonderful as a NTSB investigator who interrogates Whitaker at the hearing.

John Goodman is very funny as Whitaker’s drug dealer Harling who always comes in to a Rolling Stones song as he would find ways to get Whitaker back up as he’s also a very unique individual who is an enabler but also the one person that can get him to focus. Don Cheadle is superb as Whitaker’s lawyer Hugh Lang who tries to get Whitaker to face the reality of his situation while admitting to not liking him. Bruce Greenwood is excellent as Whitaker’s friend Charlie who tries to help him deal with the legal things as well as trying to get him sober no matter how impossible it is. Kelly Reilly is fantastic as Nicole as this recovering heroin addict who befriends Whitaker as she would also live with him for a while as she would struggle with his alcoholism and her need to be sober.

Finally, there’s Denzel Washington in a magnificent performance as William “Whip” Whitaker as a man who lives a very exciting but empty life of being an airline pilot as well as doing all of the things a pilot does. Yet, he is a man that is denial over his substance abuse as he is also quite cruel and abusive to others which adds a sense of power to Washington’s performance. He can make Whitaker a despicable human being but also one who is sympathetic and in need of help as it is definitely Washington creating one of his best roles ever.

Flight is an incredible film from Robert Zemeckis that features a tour-de-force performance from Denzel Washington. Along with strong supporting work from John Goodman, Kelly Reilly, Bruce Greenwood, and Don Cheadle. The film is definitely one of Zemeckis’ best films that explores a man falling apart in the wake of a nearly catastrophic event where he does something miraculous. Even as he is forced to wake up and face the demons in his life. In the end, Flight is a phenomenal film from Robert Zemeckis.

Robert Zemeckis Films: (I Wanna Hold Your Hand) - (Used Cars) - (Romancing the Stone) - Back to the Future - (Who Framed Roger Rabbit?) - (Back to the Future Part II) - (Back to the Future Part III) - (Death Becomes Her) - (Forrest Gump) - (Contact) - (What Lies Beneath) - (Cast Away) - (The Polar Express) - (Beowulf (2007 film)) - (A Christmas Carol (2009 film)) - The Walk (2015 film) - (Doc Brown Saves the World) - (Allies (2017 film))

© thevoid99 2013

The Place Beyond the Pines

Directed by Derek Cianfrance and written by Cianfrance, Ben Coccio, and Darius Marder from a story by Cianfrance and Coccio, The Place Beyond the Pines is a multi-layered story about two different men who cross into each other’s paths leaving way for their sons to meet many years later. The film is an exploration into the sins of a father and how it would play into the life of their sons. Starring Ryan Gosling, Bradley Cooper, Eva Mendes, Rose Byrne, Dane DeHaan, Emory Cohen, Ben Mendelsohn, and Ray Liotta. The Place Beyond the Pines is a mesmerizing and sprawling film from Derek Cianfrance.

When a child arrives into the world, the one thing that their fathers hope to do is to make sure they raise their children better than their fathers did in the previous generation. The film is a story that spans 20 years as it revolves two very different men whose paths would cross each other as they would later set a troubling fate for their sons many years later when they meet not knowing what they have in common. The film has a very unique narrative where it has a traditional three-act structure yet it plays into the fates that would come into play as it all takes place in Schenectady, New York. Notably as the first two acts is about the two different men whose fates would cross each other and the impact it would have as its third act revolves the lives of their sons as teenagers.

The screenplay’s three acts are about these four different men as the first act is about a motorcycle stuntman named Luke Glanton (Ryan Gosling). The second act is about a good low-level cop named Avery Cross (Bradley Cooper) and the third is about their two sons whose paths would meet each other many years later. The first two act show these two men who both have very good intentions for what they want to do in life as well as set good examples of their sons but they would encounter things that would set the fates for their sons to follow. Notably as Glanton would turn to crime to provide for his son while Cross finds himself in a world of corruption as he turns snitch in order to move up in the world. The paths these two men take would have some uneasy consequences the two would make as well as create a sense of guilt of the path that they take as it would cause trouble for their sons.

The third act showcases a modern world in which Avery Cross has reinvented himself as a politician but one who is still carrying the guilt over his encounter with Glanton as he is also troubled by the antics of his son AJ (Emory Cohen). When A.J. meets a teenager named Jason (Dane DeHaan) who is has no knowledge that Glanton is his real father, their meeting would not only cause a lot of trouble but also unveil the secrets that Avery Cross had been carrying his whole life. While the film is largely about father and sons, there are women who are present in the story as Luke’s former girlfriend Romina (Eva Mendes) is hesitant about having Luke in her life as some of the events that happen forces her to not tell Jason about her father. Avery’s wife Jennifer (Rose Byrne) may not have much time as Romina but she is still crucial as a woman who is forced to see her husband move away from her and the family to do right as he becomes more uncomfortable being called a hero.

Derek Cianfrance’s direction is quite stylish in not just the way he presents Schenectady, New York as an interesting area that is a mixture of a modern world clashing with nature but also a place where it’s a small microcosm that is quite uneasy. With some very interesting tracking shots such as the opening shot of the camera following Luke Glanton around the fairground just as he’s to perform his stunt. There is an air of grain to the look of the film as if it’s meant to create a sense of atmosphere and nostalgia as much of the film takes place somewhere in the 1980s or 1990s. Particularly in the first act as Cianfrance places an air of grit with some hand-held cameras to intensify things as well as placing the cameras for some very stylish chase scenes.

Things cool down during the second act where the framing and camerawork is more controlled as it is dramatic but also filled with some suspense as it revolves around Avery Cross’ encounter with corruption. There are scenes that play into a sense of danger but also melancholy as Cross begins to alienate himself from his family to battle corruption. The third act becomes a mixture of both preceding acts but it has an air of tragedy as it relates to the events in the preceding two acts and how both Avery Cross and Luke Glanton would set up this very troubling fate for the meeting of their sons and how it all comes back to the past. Overall, Derek Cianfrance creates a very compelling and intense film about fathers and the sins they unknowingly create for their sons.

Cinematographer Sean Bobbitt does brilliant work with the film‘s photography where he infuses some grainy camera work into the picture as well as maintaining something very naturalistic for many of the film‘s exteriors as well as placing some lights for some stylish moments of the film. Editors Jim Helton and Ron Patane do excellent work with the editing by using some stylish cuts for some of the film‘s chase scenes as well as some more slow-paced yet methodical cuts for the dramatic moments. Production designer Inbal Weinberg, with set decorator Jasmine E. Ballou and art director Michael Ahern, does wonderful work with the set pieces from the trailer and auto shop that Luke lives in to the home of Avery Cross to represent the two different worlds they live in.

Costume designer Erin Benach does terrific work with the costumes from the ragged clothes of Luke as well as the more youthful clothes that Romina wears in the first act to the more casual look of Avery Cross in the film‘s second act as he becomes a more refined man in the third. Sound designer Dan Flosdorf does amazing work with the sound to capture the atmosphere of the fairgrounds as well as the chase scenes and some very intense moments in some of dramatic portions of the film. The film’s music by Mike Patton is superb for its very haunting use of ambient textures and vocal choirs as well as some low-key orchestration to create dramatic moods for the film. Music supervisor Gabe Hilfer creates a fantastic soundtrack that includes a wide array of music ranging from classical pieces from Avro Part and Gregorio Allegri as well as contemporary music from Bruce Springsteen, Hall and Oates, The Cryin’ Shame, Ennio Morricone, Suicide, Bon Iver, Salem, and Two Fingers.

The casting by Cindy Tolan is incredible for the ensemble that was used as it includes some notable small performances from Gabe Fazio as Cross’ fellow officer Scott, Olga Merediz as Romina’s mother, Robert Clohessy as Cross’ chief, Harris Yulin as Avery’s father, Bruce Greenwood as a district attorney who questions Cross about the corruption in the force, and Mahershala Ali as Romina’s boyfriend Kofi who would become the one father figure Jason would have in his life. Ray Liotta is excellent as a corrupt officer who takes Cross around to show him the benefits which makes Cross uneasy while Ben Mendelsohn is terrific as the auto shop owner Robin who aids Luke in the bank robberies. Emory Cohen is very good as Cross’ son AJ as a young city kid who is forced to live with his father as he tries to rule the town.

Dane DeHaan is brilliant as Luke and Romina’s son Jason as a young loner teen who meets AJ as he becomes troubled by the revelations about who is father is as well as the fact that his mother has been carrying a secret about his father. Rose Byrne is superb in a small role as Avery’s wife Jennifer as a woman who tries to deal with the new fame her husband has as well as the things he does that has her alienated from him. Eva Mendes is great as Luke’s old flame Romina who deals with Luke’s return as well as what he tries to do as she later becomes a bitter woman trying to carry a secret that she doesn’t want her son to know about.

Bradley Cooper is marvelous as Avery Cross as a good man who finds himself entangled in the world of police corruption as he seeks to do something right only to drive away his family as he becomes consumed with guilt over his actions and how his son has turned out. Ryan Gosling is phenomenal as Luke Glanton as an intense man wanting to do right for his ex-girlfriend and their son as he turns to crime to provide for them only to set things in motion for the sense of confusion his son would endure in the years to come.

The Place Beyond the Pines is an outstanding film from Derek Cianfrance that features top-notch performances from Ryan Gosling and Bradley Cooper. Along with a great supporting cast, amazing technical work, and Mike Patton’s chilling score. The film is definitely a very captivating look into the world of fathers and the sins they place into their sons as well as the theme of redemption. In the end, The Place Beyond the Pines is a remarkable film from Derek Cianfrance.

Derek Cianfrance Films: (Brother Tied) - Blue Valentine - (Cagefighter) - (Metalhead)

© thevoid99 2013

Meek's Cutoff

Directed by Kelly Reichardt and written by Jonathan Raymond, Meek’s Cutoff is the story a group of settlers in 1845 traveling across the Oregon trail where they become lost due to their eccentric guide. The film is based on a historical incident that occurred where power struggles become involved its small band of settlers as they try to go through the treacherous trail. Starring Michelle Williams, Bruce Greenwood, Shirley Henderson, Neal Huff, Zoe Kazan, Paul Dano, Tommy Nelson, Rod Rondeaux, and Will Patton. Meek’s Cutoff is an entrancing film from Kelly Reichardt.

A group of settlers are walking on the Oregon trail to reach towards an unknown destination as they’re led by the eccentric Stephen Meek (Bruce Greenwood). With Meek taking them to a shortcut near the Cascade Mountains, the trail goes much longer than it seems raising suspicions in its settlers including Emily Tethrow (Michelle Williams). While her husband Solomon (Will Patton) would often confer with the other men in William White (Neal Huff) and Thomas Gately (Paul Dano) about where Meek could be leading. Emily remains suspicious bringing worry to William’s wife Glory (Shirley Henderson) and Thomas’ wife Millie (Zoe Kazan) along with William and Glory’s son Jimmy (Tommy Nelson).

While sees a lone Indian (Rod Rondeaux) walking around, he’s eventually captured by Meek and Solomon as Emily thinks he can get them to a place where there’s water. Still, troubling encounters with the treacherous land along with suspicions about the Indian lead to more uncertainty about what is ahead.

While the film is loosely based about an incident that revolves around a group of settlers, an eccentric guide, and an Indian who would become part of this journey. It’s all about a journey into the unknown where mistrust and confusion would occur as these settlers find themselves lost. During this journey, an Indian would pop up as he’s captured where one of them starts to trust this Indian instead of this guide who is very ambiguous. Does Stephen Meek really know where good land is or is he just this ignoramus who has no idea what he’s doing?

That’s what screenwriter Jonathan Raymond is trying to figure out as he creates a script that is very unconventional. There’s not much plot to the story as it’s all about these people going walking along into unknown land as they search for water and a place to start somewhere. Yet, Raymond does delve into these themes of anxiety, fear, resentment, and power struggle as it focuses on this group of people dealing with being lost in a land they’re not familiar with. Tension does arise but it’s notable between Meek and Emily where the latter believes that Meek has no idea where he’s going as she starts to trust the one person Meek claims not to trust.

The lack of a conventional script allows director Kelly Reichardt to create a very minimalist yet evocative film that doesn’t need to rely on dialogue. Instead, Reichardt goes for a more methodical yet entrancing approach to the filmmaking to explore this key incident in the history of Oregon. Shooting the film in a 1:37:1 full-frame aspect ratio, Reichardt does allow that format to capture great scenery that is often filled with wonderful wide shots and beautiful locations that is set in Oregon. Since there aren’t a lot of dialogue or any set pieces other than covered wagons with horses, mules, and cows in order to re-create this period. Reichardt gets a chance to improvise and create these scenes where it’s all about a daily routine or moment that occurs where the men and women each have a role to play.

While there’s a lot of long shots of wandering images of these hilly locations with bits of deserts, Reichardt’s approach to the direction is to emphasize on this very tight yet methodical approach to the film. This unconventional approach would allow the film to be paced in a very slow manner as there isn’t a lot of dialogue. It would give Reichardt the chance to play up the uncertainty that these characters face as the drama intensifies in the course of the film while she frames them to see how they interact or how they would hold small meetings. With Reichardt also serving as the film’s editor where she maintains that slow rhythm to play up the suspense and drama that occurs. She creates a film that explores the people in this journey where they would face the unknown as the overall result is a mesmerizing yet harrowing film about a legendary trail.

Cinematographer Chris Blauvet does a brilliant job with the film‘s gorgeous cinematography that features lots of beautiful daytime scenes of the Oregon skylines and locations while a lot of the nighttime scenes are very dark with only available light used to maintain the naturalist tone of the film. Production designer David Doernberg and art director Kat Uhlmansiek do great work in the design of the covered wagons along with various props to create a feel of that period.

Costume designer Victoria Farrell does excellent work with the costumes to create the clothes that men wear along with colorful dresses the women as it would match up with the look of the film‘s different locations. Sound designer Leslie Shatz and sound editor Javier Bennassar do amazing work with the sound to play up the intimate sound of clanging objects and wagon creaks along with the atmosphere that surrounds the different locations in Oregon. Music composer Jeff Grace does a superb job with the music creating an eerie score led by smooth yet screeching strings to play up the ominous tone of the film.

The casting by Laura Rosenthal is outstanding for the ensemble that is created for the film. Notable small roles include Tommy Nelson as the young boy Jimmy, Rod Rondeaux as the mysterious Indian, and Neal Huff as Jimmy’s father/Glory’s husband William. Zoe Kazan is very good as the worried Millie while Paul Dano is terrific as the more determined Thomas. Shirley Henderson is wonderful as the maternal Glory while Will Patton is excellent as Emily’s resourceful yet organized husband Solomon. Bruce Greenwood is great as the eccentric Stephen Meek as Greenwood sports a huge beard and wear strange clothes as he’s a man that is certainly odd while always jabbering about everything he’s encountered. Finally, there’s Michelle Williams in a phenomenal performance as the grounded Emily Tetherow who tries to deal with the uncertainty while proving to be someone who won’t be pushed around as it’s Williams at her best.

Meek’s Cutoff is a ravishing yet engrossing western-drama from Kelly Reichardt that features an incredible performance from Michelle Williams. While it’s a film that will have fans of the western genre be baffled by its unconventional premise and slow pacing. It’s definitely a truly creative film that relies more on minimalist techniques, compelling characters, and beautiful settings. Notably as it provides a very intriguing idea about a very tiny moment in American history. In the end, Meek’s Cutoff is a haunting yet enrapturing film from Kelly Reichardt.

Kelly Reichardt Films: River of Grass - Old Joy - Wendy & Lucy - Meek's Cutoff - Night Moves (2013 film) - Certain Women - First Cow - Showing Up - The Auteurs #72: Kelly Reichardt

© thevoid99 2012

Barney's Version

Based on the novel by Mordecai Richler, Barney’s Version is the story of a man telling his own life story that includes three marriages where it also involves the disappearance of his best friend. Directed by Richard J. Lewis and adapted into script by Michael Konyves, the film explores a man’s life through different time periods as he tries to recall what happened in those years. Starring Paul Giamatti, Rosamund Pike, Minnie Driver, Rachelle Leferve, Bruce Greenwood, Scott Speedman, and Dustin Hoffman. Barney’s Version is a charming yet mesmerizing film from Richard J. Lewis.

TV producer Barney Panofsky (Paul Giamatti) has just learned a book about his life and his involvement in the disappearance of his best friend/novelist Bernard “Boogie” Moskovitch (Scott Speedman) had just came out. Going into his favorite bar in Montreal, Barney deals with retired police investigator O’Hearne (Mark Addy) who remains convinced that Barney killed Boogie. For Barney, he recalls about his life dating back to the early 70s when he and Boogie were in Rome as Barney was to marry a young hippie woman named Clara (Rachelle Laferve) whom he had just impregnated. Things got crazy when Clara turns out not to be the person she claims to be as he returns to Montreal to work for his uncle in the TV business where he would meet the woman (Minnie Driver) who would become his second wife.

After meeting her more uptight and wealthy family and introduce his father Izzy (Dustin Hoffman) to her family, Barney seems to be ready for another marriage he realizes he’s not in love with this woman. At the wedding, Barney sees a woman named Miriam (Rosamund Pike) as he falls for her as they briefly meet as she returns to New York City. Stuck in a horrible marriage with his second wife, Barney takes the strung-out Boogie to a weekend in the cabin where the wife also shows up. The weekend turns out to be a disaster as Barney is hung up on Miriam as he seeks advice from his father. After a drunken argument with Boogie that would lead to Boogie’s disappearance, Barney tries to deal with what happened as he gets divorced and then pursues Miriam as the two fall in love, get married, and gain two kids in Michael (Jake Hoffman) and Kate (Anna Hopkins).

During a trip to the country, Barney meets a man named Blair (Bruce Greenwood) who would eventually get Miriam a job working at a radio station interviewing authors including Barney’s old friend Leo (Thomas Trabacchi). Barney becomes suspicious of Miriam’s friendship with Blair as she goes away to visit Jake in New York where he would endure loss as well as his own screw-up. Just as the continuing investigation of Boogie’s death some more than 30 years after it happened, Barney tries to come to terms with everything he had dealt with in his life.

The film explores a man’s life as he recalls his memories of the past 35 years of his life as he would be married to three different women where his third wife would be the love of his life. Also told is a man’s friendship with a strung-out writer who is trying to catch a break where he would suddenly disappear leading to all sorts of questions. All of this told via long flashback sequences as an aging Barney deals with the past following the release of a new book about what happened on that day as he comes to terms with loss and everything else he’s dealt with. Michael Konyves’ script revolves around that narrative structure where it moves back and forth from the past to the present to dwell into Barney Panofsky’s life.

The script reveals Barney as a guy who is willing to fall in love with any kind of woman as he deals with the heartbreak over his first marriage that involves a lies and horrifying circumstances. In his second marriage, he thought he would find someone to be with only to find out that his second wife is a vapid and greedy woman who comes from a rich family as she turns out to be demanding. Notably as she would play part into the disappearance of his best friend Boogie who was in need of help due to his own substance abuse. Then there’s Miriam, the love of his life as she is a woman that represents everything Barney wants and more. She is kind, unselfish, and intelligent as she is also her own woman who doesn’t fall for Barney immediately but she is this woman that would ground and care for him.

Another relationship that is key to the film is Barney’s relationship with his father Israel who is also called Izzy. Izzy is a guy who provides a lot of humor to the film while hoping to get laid as he has already lost his wife. Yet, he would be the one person to guide Barney into the tribulations of his life until the third act when he’s not around and Barney becomes lost leading to a breakdown of his marriage as well as his entire life. While the third act is a bit drawn out than it should’ve been as it would also involve a very dramatic plot device. The script is still superb for the way it fleshes out its characters as well as playing to its narrative structure.

Richard J. Lewis’ direction is superb for the way it explores the drama as it includes some great scenes where Lewis would have the actors be placed into a frame or how he would direct a key dramatic moment without going overboard. With a lot of the film set in Canada along with a few scenes in Rome, Lewis manages to invest into getting inside this man’s life. While a lot of the direction is straightforward, it is still engaging in these subtle dramatic moments such as Barney and Izzy’s visit to the grave of Barney’s mother where it would also involve some light-humorous moments. Overall, Lewis creates a very solid and dramatic film tracing a man’s life and the loves he had in his life.

Cinematographer Guy Dufaux does an excellent job with the film‘s stylish cinematography from the lush look of Rome to the more straightforward yet entrancing exteriors for the nighttime scenes in Montreal. Editor Susan Shipton does a nice job with the editing as she emphasize in mostly straightforward cuts to play up the film’s drama and humor. Production designer Claude Pare, along with set decorator Elise de Blois and art director Michele Laliberte, does an incredible job with the set pieces such as the posh apartment that Barney and Miriam lived in to the quaint cabin Barney owns in the Canadian countryside. Costume designer Nicoletta Massone does a fantastic job with the costumes to play up the different periods of the time from the hippie clothing of Barney’s first wife Carla to the more calm yet stylish clothing of Miriam.

The film’s makeup by Adrien Mort and Micheline Trepanier is superb for the way the characters age without making it too fake. Visual effects supervisor Louis Morin does a good job with some of the minor visual effects for backdrops of 1970s NYC and other location spots. Sound editor Fred Brennan does a terrific job with the sound work from the raucous atmosphere of the 2nd wedding and bar scenes to the intimate moments involving Barney and Miriam. The film’s music by Pasquale Catalano is wonderful for its plaintive piano pieces to swelling orchestral cuts to play up the drama that occurs in the film. Additional music pieces include songs ranging from 60s rock and 70s disco along with cuts by Dusty Springfield and Leonard Cohen.

The casting by Deirdre Bowen, Pam Dixon, and Nina Gold is truly the film’s highlight for the ensemble that is created for the film. Among the people who make appearances for the film include filmmakers Atom Egoyan and David Cronenberg as a couple of TV show directors plus Denys Arcand as a waiter, Ted Kotcheff as a train conductor, and Paul Gross as an actor on Barney’s TV show. Other notable supporting roles include Macha Grenon as an aging actress on Barney’s TV show, Harvey Atkin as Barney’s disapproving second father-in-law, Saul Rubinek as Barney’s cruel first father-in-law, Cle Bennett and Thomas Trabacchi in their respective roles as two of Barney’s longtime friends Cedric and Leo, Paula Jean Hixson as the bartender at the bar Barney frequents at, and Mark Addy as the pushy detective O’Heare.

Jake Hoffman and Anna Hopkins are very good in their respective roles as Barney’s adult children Michael and Kate while Bruce Greenwood is excellent as the very nice Blair whom Barney feels annoyed by. Rachelle Leferve is very good as Barney’s unstable yet artistic first wife Clara while Minnie Driver is very funny as the loud and demanding unnamed second wife. Scott Speedman is terrific as Barney’s strung-out yet creative best friend Boogie who helps Barney deal with the second marriage while resenting him for things he had. Dustin Hoffman is brilliant as Barney’s father Izzy who says some very funny things while being the caring father that Barney needs including a moment when Barney is in big trouble.

Rosamund Pike gives what is truly a mesmerizing and radiant performance as Barney’s third wife Miriam. Pike delivers a sense of grace and charm to a woman who is befuddled by Barney’s attempts to win her affections while her strongest moments are in the more dramatic moments where she displays an amazing sense of restraint to act out these emotive moments. Finally, there’s Paul Giamatti in an absolutely powerful performance as Barney Panofsky. Giamatti brings a lot of wit and humility to a character that wears his heart on his sleeve as he looks for love and happiness only to either find it in the wrong places or to become desperate when he feels alone. It’s a performance that allows Giamatti to be the romantic as his scenes with Pike are truly magical to watch in the way they care for each other including a key dramatic moment when no dialogue was really needed.

Barney’s Version is a remarkable film from Richard J. Lewis that features outstanding performances from Paul Giamatti, Rosamund Pike, and Dustin Hoffman. While it’s a film that is a bit flawed and at times, feels overlong due to the overdrawn third act. It is still very engaging in its exploration of a man’s loss and desire to find love. In the end, Barney’s Version is a wonderful film from Richard J. Lewis.

© thevoid99 2012

Capote

Based on Gerald Clarke’s biography on Truman Capote, Capote is the story of famed novelist interviewing the men that would inspire his acclaimed novel In Cold Blood. Directed by Bennett Miller and screenplay by Dan Futterman, the film explores Capote’s life into the making of the book as well as his unique personality as the role is played by Philip Seymour Hoffman. Also starring Catherine Keener, Clifton Collins Jr., Bruce Greenwood, Mark Pellegrino, Amy Ryan, and Chris Cooper. Capote is an intriguing yet hypnotic film from Bennett Miller.

After reading the news about a murder in Kansas, Truman Capote is intrigued by the story as he travels to the murder site with friend/fellow author Harper Lee (Catherine Keener) for an article about what happened. After interviewing various locals including enforcement chief Alvin Dewey (Chris Cooper) about what might’ve happened as Capote thinks there’s a whole lot more to it. During a dinner with Alvin and his wife (Amy Ryan), news emerged that the killers have been caught as they’re revealed to be Richard Hickock (Mark Pellegrino) and Perry Smith (Clifton Collins Jr.). Capote wants to get to know the killers as he tells his editor William Shawn (Bob Balaban) and novelist/lover Jack Dunphy (Bruce Greenwood) that he wants to do more research about what happened for a book.

Capote gets to know the prisoners as he becomes very attached to Smith as the two share their own experiences where Smith even lends Capote his diary. With Capote using everything he knew from Smith to write his book, he goes to Spain with Dunphy for a year as he waits for news about their appeal. When their appeal is rejected, Capote returns to the U.S. to meet with Smith as he still wants to know what happened that night. Smith eventually tells him while Capote struggles to finish the book despite reading passages to the public some time earlier. With the execution for Smith and Hickock looming and Capote feeling very attached towards Smith, Capote deals with everything he’s experienced as he awaits for the execution of the two killers.

The film is about a period in Capote’s life from the moment he reads about this incident in Kansas that would lead him to write the novel of his career. Yet, there’s a lot more to it in the way Capote presents himself to people when he’s having fun as an openly-gay man while being the serious writer when he’s on the job. What happens in the course of the film is that his research into creating this book would eventually take a toll on him as he becomes attached to one of the killers realizing that they’re just human beings despite their action.

Dan Futterman’s script delves into a Capote’s personality and his persona while making him into a very complex individual that is trying to make a story that humanizes the killers he’s interviewing. Futterman also succeeds in making Capote flawed as he would often lie to Perry Smith about the progress of his book in order to try and get to know him. Other characters such as Smith, Harper Lee, Jack Dunphy, and Alvin Dewey are just as interesting in the way the react to or interact with Capote. Notably Smith as he’s this quiet yet troubled man that is trying to find some form of redemption as he befriends Capote. Futterman’s script succeeds in laying out the events that happens as well as Capote’s research though the story starts to drag a bit towards the third act. Largely because there’s an uncertainty to the way Capote is feeling about the execution as he is waiting for it to happen. Still, Futterman manages to create a script that is compelling and insightful.

Bennett Miller’s direction is truly a marvel to watch from the way he opens the film quietly with this scene of a young woman walking into a house where she would find a dead body. That sense of steady compositions mixed with silence is a great example of what Miller could do as he maintains a very simple yet direct approach to the film. Often having the camera moving slowly or to just shoot something in a very simple presentation. Miller’s direction is very potent as he also can create an atmosphere to the locations that is set in the film whether it’s the Canadian locations as Kansas or other scenes shot in California and Austin, Texas. There is a truly a mesmerizing feel to the film as Miller creates what is truly a fascinating portrait of one of the great writers of the 20th Century.

Cinematographer Adam Kimmel does a brilliant job with the film‘s entrancing photography from the low-key yet colorful nighttime shots for the interior scenes in New York along with some gorgeous yet hypnotic daytime shots for a lot of the Kansas scenes with very little sunlight. Kimmel’s photography in a lot of the daytime scenes has an exquisite beauty that is truly reminiscent of the films made by Terrence Malick as it’s the true technical highlight of the film. Editor Christopher Tellefsen does a superb job with the editing in maintaining a methodical pace throughout the film, despite the slowness of the third act, while utilizing rhythmic cuts and fade-outs to help keep the film going.

Production designer Jess Gonchor, along with art director Gord Peterson and set decorators Maryam Decter and Scott Rossell, does an excellent job with the set pieces created such as the jail cell that Smith lives in as well as the posh Spanish home that Dunphy lives where Capote does some of his writing. Costume designer Kasia Walicka-Maimone does a wonderful job with the costumes created from the suits and clothes that Capote wears to the late-50s/early 60s dresses that some of the women wear in the film. Sound editor Ron Bochar does a great job with the sound from the sparseness of the open field Kansas location to the raucous atmosphere of the New York parties that Capote frequently attends to.

The film’s plaintive, piano-driven score by Mychael Danna is truly mesmerizing from the mood that Danna creates to underplay the drama and the horror that surrounds the events as it features a low-key string orchestra to add a heaviness to the music. Music supervisor Susan Jacobs creates a soundtrack filled with playful jazz and bossa nova music to complement the world of NYC that Capote lives in as it’s definitely fun to hear.

The casting by Avy Kaufman is amazing as it features a wonderful collective of actors needed for a film like this. In small but notable roles, there’s Allie Mickelson as the young woman who found the bodies at the start of the film, Marshall Bell as the prison warden, Amy Ryan as Alvin Dewey’s wife, Bob Balaban as Capote’s editor William Shawn, and Mark Pellegrino as convicted killer Richard Hickock. Chris Cooper is excellent in a small but memorable role as local law enforcer Alvin Dewey who reluctantly helps out Capote in his research. Bruce Greenwood is terrific as Capote’s lover/fellow novelist who tries to deal with Capote’s research while being there for him as he writes his own novel.

Clifton Collins Jr. is superb as Perry Smith as Collins brings a sensitivity to his performance that is also chilling as a man who is aware of his crimes as he yearns for redemption. Catherine Keener is great as novelist Harper Lee who helps Capote in his research while being the one confidant he can count on. Finally, there’s Philip Seymour Hoffman in a fantastic performance as Truman Capote as Hoffman brings a wonderful sense of charm to the novelist in the way he presents himself publicly. In more somber moments, Hoffman restrains himself in the way he does his research while dealing with his own attachment towards Smith as it’s a truly outstanding performance from Philip Seymour Hoffman.

Capote is phenomenal film from Bennett Miller that features a magnificent performance from Philip Seymour Hoffman as the famed author. The film is a mesmerizing portrait of Truman Capote’s life during the writing of his famed novel In Cold Blood and the toll it took on him as a writer. The film is also a very rich and divine for its imagery while it’s a drama that is very engaging in the way it’s presented. In the end, Capote is brilliant film from Bennett Miller.

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© thevoid99 2011