Dead Poets Society

Directed by Peter Weir and written by Tom Schulman, Dead Poets Society is about a former prep school student who returns to his old prep school as a teacher to a new group of young students. Breaking away from the conservative world of the school, the teacher gives his young students a chance to find their own individuality through poetry as a couple of students get a chance to live their dreams while dealing with the conservative world of their school and the expectations from their parents. With Robin Williams in a leading performance as the English teacher John Keating, he is accompanied by a young cast that includes Robert Sean Leonard, Ethan Hawke, Josh Charles, Dylan Kussman, Allelon Ruggerio, Gale Hansen, and James Waterson, along with appearances from Norman Lloyd and Kurtwood Smith. Dead Poets Society is an inspiring yet majestic film from Peter Weir.

Set in a prep school in 1959 in the American Northeast, the film is a simple story where a new teacher arrives at the school to teach poetry and literature as he would bring new ideas to his young students that breaks away from the traditional ethics of the school. It’s a film that in some respects is about times that are changing where this school is trying to maintain these ideas of wisdom in tradition, honor, excellence, and disciple in a world that is starting to change as its new teacher is part of that new world. At the same time, it is about a group of students who are amazed by this new teacher and his ideas as they’re inspired to read poetry as some of these students have the desire to do something else rather than what is expected from them. Especially as a few would endure the pressures of their parents to uphold certain standards and ideas rather than pursue their own ambitions and desire.

Tom Schulman’s screenplay is very broad in the way it explores the life of a prep school in the late 1950s where a new year is about to begin for a group of students while a newcomer to the school is a shy aspiring writer in Todd Anderson (Ethan Hawke) whose older brother was a student at the school. Anderson’s roommate in Neil Perry (Robert Sean Leonard) is being pressured by his father to become a doctor as he would eventually become interested in acting. Anderson and Perry would eventually find inspiration through the teachings of John Keating who was a student at the school years ago as he traveled through Europe to become a teacher as he would teach his students new ideas about living life. Even as he discards the traditional ideas of poetry as he feels that everything he had been taught about is tired and irrelevant as he would allow students to find themselves and their passion where many of them would reform an old poetry that Keating was a part of called the Dead Poets Society.

The script doesn’t just explore a group of young men coming together to read poetry but also find something in themselves where Knox Overstreet (Josh Charles) would use poetry to woo a girl from a nearby public school while Charlie Dalton (Gale Hansen) would find individuality and challenge the school’s old school ethics. Though Keating’s intentions were noble, he isn’t interested in challenging anything but rather expand the ideas as it would get him into some trouble with the school’s headmaster Gale Nolan (Norman Lloyd) who is trying to ensure the school’s ethics refusing to believe that times are changing. Especially where Perry’s desires to become an actor starts to get the attention of his father (Kurtwood Smith) as it would play into events that would effect the film tonally as well as the decisions some of the characters would make.

Peter Weir’s direction is very mesmerizing in the way he portrays the world of late 1950s prep schools set in the American Northeast where it’s very posh and has this air of elegance that stood for the ethics that the school is about. Yet, everything outside of that school represents a world that is ever-changing where it is shot largely at the St. Andrew’s School in Middletown, Delaware which definitely feels like the perfect setting of a world that is long and gone. Weir’s direction is quite simple in terms of the many compositions he creates but has this air of richness in every image he creates as well as an energy that plays into this feeling of a new world emerging into this school by this very passionate and charming teacher. The direction also has Weir find elements of humor and exuberance to play into a world that is changing where Keating brings something that is very worldly in the art of poetry.

Through some unique close-ups and medium shots, Weir maintains that sense of intimacy inside the classroom but also something much looser outside of the classroom. Even as the students would find ways to express themselves such as Perry who would get a chance to do Shakespeare while Anderson would have this great scene where he would create a poem of his own in the classroom in a way that comes off very naturally. It’s among the key aspects in Weir’s direction that is compelling as it does become more dramatic in its third act where it plays into some of the fallback of Keating’s teachings and how the old world wants to instill its ideals against the new world. All of which is set in a classroom about poetry and one teacher who would get a group of students to feel inspired for the world that is ahead of them. Overall, Weir crafts a very touching and riveting film about a teacher and the students who inspired him.

Cinematographer John Seale does amazing work with the film‘s rich and colorful cinematography to play into the exterior settings from the fall and winter seasons as well as some of the low-key lighting schemes for some scenes set at night. Editor William M. Anderson does brilliant work with the editing with its unique approach to rhythmic cuts and other stylized cuts to capture the sense of energy in the film as well as some of the more haunting moments in the film. Production designer Wendy Stites, with set decorator John H. Anderson and art director Sandy Veneziano, does fantastic work with the look of the classrooms and dining halls as well as some of the places nearby the school. Sound editor Alan Splet does superb work with the sound from the sense of chaos that goes on in the school to some of the sparse sound textures in some of Keating‘s teachings. The film’s music by Maurice Jarre is tremendous for its very low-key yet somber score with some unique string arrangements and some soothing orchestral themes as it is one of the film’s highlights.

The casting by Howard Feuer is just excellent as it features some notable small roles from Alexandra Powers as Knox’s crush Chris Noel, Leon Pownall as the teacher McAllister, and Debra Mooney as Neil’s mother. Kurtwood Smith is terrific as Neil’s very strict father who wants him to become a doctor while Norman Lloyd is excellent as the school headmaster Gale Nolan who tries to maintain a sense of order and idea of tradition in the school. Allen Ruggiero is superb as the nerdy Meeks who becomes much looser through poetry while James Waterston is wonderful as the more awkward Pitts who finds some confidence through poetry. Gale Hansen is fantastic as Charlie Dalton who is the first to be amazed by Keating’s teachings as he finds individuality and the desire to make difference. Josh Charles is amazing as Knox Overstreet who would find confidence in poetry to woo a girl who comes from another school.

Dylan Kussman is brilliant as Richard Cameron as a student who is the most reluctant to follow Keating’s ideals as he would later look out for himself and think of what is best for the school. Ethan Hawke is phenomenal as Todd Anderson as this aspiring writer who is very shy and extremely insecure only to get a push and some encouragement through Keating as he would find his way towards happiness. Robert Sean Leonard is marvelous as Neil Perry as this young man who is trying to find himself as he falls in love with the world of acting as he struggles with his own desires and what his father wants from him. Finally, there’s Robin Williams in one of his most iconic performance as John Keating. It’s a performance that has Williams display humor and exuberance but also one that is very sensitive and nurturing as it displays many of what he can do as an actor and how inspiring he can be.

Dead Poets Society is a magnificent film from Peter Weir that features an exhilarating and passionate performance from Robin Williams. Armed with a great supporting cast that includes Ethan Hawke and Robert Sean Leonard as well as captivating themes on individuality and changing the world through art. It’s a film that goes beyond the ideas of inspiration as it is also a film in how one teacher can change the lives of a group of young kids. In the end, Dead Poets Society is an outstanding film from Peter Weir.

Peter Weir Films: (3 to Go-Michael) – (Homesdale) – (Whatever Happened to Green Valley?) - (The Car That Ate Paris) - Picnic at Hanging Rock - (The Last Wave) - The Plumber (1979 TV film) - Gallipoli - The Year of Living Dangerously - (Witness) - (Mosquito Coast) - (Green Card) - (Fearless) - (The Truman Show) - Master and Commander: The Far Side of the World - The Way Back

© thevoid99 2014

Cedar Rapids

Directed by Miguel Arteta and written by Phil Johnston, Cedar Rapids is the story of a naïve insurance salesman who becomes a last-minute replacement to attend a regional conference to win a prestigious prize. At the conference, he befriends a wild bunch of insurance agents where they reveal about the dark world of the insurance business. Starring Ed Helms, John C. Reilly, Anne Heche, Isaiah Whitlock Jr., Alia Shawkat, Kurtwood Smith, Stephen Root, and Sigourney Weaver. Cedar Rapids is a heartwarming yet very funny comedy from Miguel Arteta.

Tim Lippe (Ed Helms) is an insurance agent from a small town who holds an idealism about taking care of his customers and earning their trust. While he’s also having an affair with his former schoolteacher Macy Vanderhei (Sigourney Weaver), Tim lives a comfortable yet sheltered life. When a fellow agent named Roger Lemke (Thomas Lennon) had suddenly died, Tim’s boss Bill Krogstad needs Tim to go to Cedar Rapids, Iowa for a regional conference to make presentation for ASMI president Orrin Helgesson (Kurtwood Smith) in hopes for another award for the company. Tim goes to Cedar Rapids where he shares a room with the kind African-American agent Ronald Wilkes (Isaiah Whitlock Jr.) and the more brash Dean Ziegler (John C. Reilly) whom Krogstad wants Tim to stay away from.

Tim also meets Joan Ostrowski-Fox (Anne Heche) as he learns about the rough-and-tumble world of the insurance game. While getting to know Ronald, Dean, and Joan, Tim also befriends a young prostitute named Bree (Alia Shawkat) as he and Joan win a scavenger hunt as they would join Ronald and Dean for drinks and partying. Yet, the party gets a little out of control with Tim after sleeping with the already-married Joan as Tim finds himself trouble with Orrin as he is set to make a big presentation for the Four Diamonds award. Joan would reveal some dark secrets to Tim about Lemke and how he won the awards as Tim refuses to believe what Joan says.

With Dean giving him some advice, Tim would do something to win over Orrin where he realizes what he had done. After going to a rowdy party with Bree, Tim learns what Krogstad is going to do forcing Tim to make some big moves with the help from his new friends.

The film is a comedy about a small town insurance agent whose idealism is tested when he becomes a last-minute replacement for another agent at a very prestigious regional conference. There, he would explore some of the dark secrets of the insurance game along with some people who share his ideals despite their much looser personalities. The film is a coming-of-age story of sorts of a how a young man who learns about what to do in the insurance game though he is someone that just wants to do good for those in his small town and make sure they can trust him. Phil Johnston’s screenplay does play to a bit of formula but its big success is in fleshing out the characters as well as developing them. Notably the Tim Lippe character as it’s his story that is told with some bawdy humor but also some intriguing insight into the world of the insurance business.

Miguel Arteta’s direction is superb as a lot of the presentation is straightforward yet engaging. From the way he shoots a lot of the interiors of the hotel early on to the way he presents some of the film’s humorous moments. The latter of which is done with a lot of improvisation as well as getting the actors set for the frame. The way the actors are directed in their approach to the frame as well as giving them relaxed and lively performance is among one of Arteta’s strengths as a filmmaker. He’s not afraid to put them in uncomfortable situations or tense moments while finding some way to make sure the humor comes off naturally. Overall, Arteta creates a very solid and witty film about a man coming of age in the insurance business world.

Cinematographer Chuy Chavez does a nice job with the film‘s very colorful cinematography that is filled with stylish lighting set-ups for many of the film‘s interior settings while utilizing more naturalistic shots for the film‘s day and nighttime exterior settings where a lot of it is shot in Ann Arbor, Michigan. Editor Erick Kassick does a very good job with the editing by utilizing some rhythmic cuts for some of the film‘s humorous moments including a wonderful montage scene late in the film. Production designer Doug J. Meerdink, along with set decorator Jeanette Scott and art director Rob Simons, does a brilliant job with the look of the hotel suite interiors to complement the new world that Tim Lippe steps in.

Costume designer Hope Hanafin does terrific work with the costumes from the suits the men wear to the more stylish business suit that Joan wears. Sound editor Andrew DeCristofaro does a fine job with the sound work to play up a few key scenes such as a talent contest where Tim steals the show as well as the raucous party scene where Tim parties with Bree. The film’s score by Christophe Beck is excellent for its very playful and melodic-driven score led by jazzy piano riffs and soothing string arrangements to emphasize the film‘s light-hearted humor. Music supervisor Margaret Yen provides a very fun score that is a mixture of folk, indie rock, classic rock, and pop music to play up the world that Tim Lippe ventures into.

The casting by Joanna Colbert, Richard Mento, and Meredith Tucker is incredible for the ensemble that is created as it includes Thomas Lennon as Tim‘s fellow agent Roger Lemke, Mike O‘Malley as the smug top agent Mike Pyle, and Rob Coddroy as a mean guy Tim meets at a party. Alia Shawkat is terrific as young hooker Bree who befriends Tim as she calls him “Butterscotch”. Kurtwood Smith is excellent as ASMI president Orrin Helgesson who claims to be about everything the contest is about only for Tim to discover something devious about him. Stephen Root is superb as Tim’s greedy boss Bill Krogstad who becomes desperate to win the Two Diamonds award while finding some way to make sure Tim succeeds in his mission. Sigourney Weaver is wonderful as Tim’s older girlfriend Macy whom he adores and always go to her for advice as Weaver brings a great maternal instinct to the character while still being very sexy.

Isaiah Whitlock Jr. is great as the film’s straight-man Ronald Wilkes as he shows Tim the ropes about the conference while proving that he can loosen up and be threatening in his own way. Anne Heche is amazing as the very fun Joan Ostrowski-Fox who helps Tim deal with his new surroundings while revealing some secrets about the ASMI conference as it’s Heche giving out one of her best performances of her career. John C. Reilly is phenomenal as Dean Ziegler as Reilly brings a lot of energy to his character that might be a brash blow-hard but there’s also a lot of heart to his character who does care for clients and friends. Finally, there’s Ed Helms in a winning performance as the naïve Tim Lippe where Helms brings a wide-eyed innocence and enthusiasm to his character. Even as Helms gets a chance to be funny while proving to be a solid dramatic actor as it proves that there’s more to Helms than being the crazed partier in the Hangover movies.

Cedar Rapids is a fun and enjoyable comedy from Miguel Arteta. Featuring dynamic performances from Ed Helms, John C. Reilly, Anne Heche, and Isaiah Whitlock Jr., it’s a film that is very smart as well as providing enough amusing and compelling moments to keep its audience entertained. Notably as it’s comedy that doesn’t try to rely on cheap gags in order to create characters and situations audiences can relate to. In the end, Cedar Rapids is a fantastic film from Miguel Arteta.

Miguel Arteta Films: (Star Maps) - (Chuck & Buck) - (The Good Girl) - (Youth in Revolt) - Beatriz at Dinner

© thevoid99 2012

Citizen Ruth

Originally Written and Posted at Epinions.com on 4/8/05 w/ Additional Edits & Revised Content.

Directed by Alexander Payne and co-written with Jim Taylor, Citizen Ruth is the story of a spray-paint huffing woman who becomes pregnant as she is caught in the middle of a war between pro-choice figures and pro-life people. The film is comedy that not only ridicules both political sides of the issue but shows the absurdity of humanity all because of one screwed up, dim-witted, drug addicted woman named Ruth Stoops played by Laura Dern. With a cast that includes Mary Kay Place, Kurtwood Smith, Alicia Witt, Swoozie Kurtz, Kelly Preston, M.C. Gainey, David Graff, Tippi Hendren, Dern's real-life mom Diane Ladd, and Burt Reynolds. Citizen Ruth is a funny, smart comedy about a political debate that goes terribly wrong.

After getting kicked out by her boyfriend, Ruth Stoops seeks to find money to buy some alcohol and spray-paint to sniff at. After getting arrested for her troubles, Rush learns she is pregnant for the fifth time as Judge Richter (David Graf) puts her in jail for endangering her fetus. While the judge offers to lessen the charge if she has an abortion, Ruth meets a conservative Christian in Gail Stoney (Mary Kay Place) and her friend Diane Siegler (Swoozie Kurtz) as they've been released by Gail's husband Norm who also bails out Ruth. Gail and Norm take Ruth in she meets their rebellious, heavy metal-loving teenage daughter Cheryl (Alicia Witt) while learning that Norm is the local head of an anti-abortion group called the Baby Savers. After learning about Ruth and her situation, Norm wants to take her situation public as a meeting with Dr. Rollins (Kenneth Mars) and his nurse (Joan Hennecke) has them claiming that abortion is a new version of the Holocaust.

With Ruth suddenly used as a pawn for Norm and Gail's cause, a protest towards an abortion clinic's guard named Harlan (M.C. Gainey) leads to chaos where Ruth steals money for her own drug use as she's caught by Norm. Diane decides to take Ruth in for protection where she reveals herself to be spy for a pro-choice group that she leads with her lesbian-lover Rachel (Kelly Preston). With Norm and Gail learning about Diane, a national debate happens as Norm calls in the entire Baby Savers group as Ruth is caught in the middle with Diane calling for Harlan for help as they learn Jessica Weiss (Tippi Hendren) will make a counterattack towards the Baby Savers. With the Baby Savers wanting to give Ruth money to keep her baby, Harlan makes the same offer to give Ruth a choice for her own. While the Baby Savers' national leader Blaine Gibbons (Burt Reynolds) arrives to help with the protest in front of Diane's farm. Ruth becomes unsure of the world she's in as well as her future as the abortion debate intensifies.

While films about political issues tend to tread into treacherous waters, what Alexander Payne does is find humor in these issues. While he is known as a liberal, Payne decides to go into neither side and make fun of both sides. Where he and co-writer Jim Taylor decide to paint the Baby Savers as a bunch of hypocritical, bland folks with a leader who likes to be massaged by his adopted son. The pro-choice advocates are seen as a bunch of kooky hippies. The genius of the film is in the screenplay and Payne's solid direction where both sides do have their points but the story is really about one woman and her own decision. The film does have an ending that will upset many not because of her choice but its unconventional approach, especially the fact that she's a very self-destructive, unemployed, and somewhat idiotic woman who doesn't know what to do. It's a satire film that doesn't try to play it safe and the result shows the brilliance of commentary that Payne and Taylor have in their subject matters.

If Payne and Taylor's script is well-written, so does Payne’s directing style and location choices where he chooses a rural, American landscape of his home state of Nebraska along with parts of Iowa. With cinematographer James Glennon, Payne goes for a somewhat gray, bleak outlook of Middle American culture with its small towns, poor houses in the ghetto to the more clean suburban outlook thanks to Glennon's grayish cinematography and the detailed production design of longtime Payne cohort Jane Ann Stewart. The film also includes some masterful and stylized editing from longtime editor Kevin Tent who utilizes a smart, playful approach to his editing that makes the film leisurely placed. Then there's the plaintive score of Rolfe Kent who brings in some fantastic orchestral pieces that plays to Tent's editing paces with a touch of jazz rhythms is familiar with many of Payne's films.

Part of the genius of Citizen Ruth is in its casting and all of the film's supporting cast plays their part with great hilarity and satire. While small performances from David Graff, Alicia Witt, Jeremy Sczepaniak, Kenneth Mars, Joan Hennecke, and Sebastian Anzaldo III are memorable, one of the funniest cameos comes from Dern's real-life mom and actress Diane Ladd in a hilarious dialogue confrontation between her and her daughter. Tippi Hendren is excellent in her brief performance as pro-choice leader Jessica Weiss while Burt Reynolds is extremely hilarious as the Baby Savers leader with his bad wig and conservative views that are out there, especially in a scene where he's topless.

Kurtwood Smith and Mary Kay Place also bring humor to their ultra-conservative caricatures while Place does write some of the film's original songs with Payne & Taylor that are downright funny and spiritual. Kelly Preston is also funny as Kurtz's lesbian lover with a kooky affinity for hippie songs about the moon. M.C. Gainey also shines as sleazy Harlan with his radical views on politics while Swoozie Kurtz pulls double duty as Diane with her high-pitch voice as the conservative Diane with the more stern, funny tone of the ultra-liberal Diane.

Laura Dern is the real stare of the film with her complex and hilarious performance as the film's title character. Dern doesn't make her character totally likeable despite her self-destructive behavior but her comedic antics are just so wonderful to watch. Dern makes her character a bit of an idiot but not a total idiot, especially when she thinks about her plans for her money while we sympathize with her about her knowledge as being the center of a huge political debate. Dern's performance is truly the spark that drives the film.

Citizen Ruth is one of the reasons why Alexander Payne is considered to be one of American cinema's leading voice, because of his subject matters and approach to satire. The acclaim of Citizen Ruth would lead him to direct the high school election satire of Election in 1999 that somewhat parallels are own electoral ideals and scandals. Payne's films are very American for their subject matters whether it's the satire of Citizen Ruth and Election, the discussion of ageism and value of life in About Schmidt, to his recent, Oscar-award winning view of a man's depression and affinity for wine in Sideways. It's clear that after four films, Payne is likely to become the one true American director that sees things in a realistic and funny way. Another thing that makes Payne's film so unique is that each of the central protagonists are loveable, flawed losers we can root for.

Citizen Ruth isn't a bad place to start when it comes to the works of Alexander Payne though Election seems like the better introduction. Fans of Payne will find this as a great debut though for those serious about the issue of abortion will find this film to be very offensive. With a great cast led by Laura Dern, Citizen Ruth is a winner for its witty satire and realistic views on politics as it stands as a fine debut for Alexander Payne and company.

Alexander Payne Films: Election - About Schmidt - Sideways - Paris Je T'aime-14e Arrondissment - The Descendants - Nebraska - (Downsizing) - The Holdovers - (Tracy Flick Can't Win) - The Auteurs #5: Alexander Payne

(C) thevoid99 2011

To Die For

Originally Written and Posted at Epinions.com on 1/22/08 w/ Additional Edits.

Before the age of the Internet and the overwhelming presence of the paparazzi that helped spawn tabloid TV, the media in the 1990s was just starting to get crazy due to incidents involving the OJ Simpson trial and other strange incidents including the Nancy Kerrigan-Tanya Harding feud prior to the 1994 Winter Olympics. The mid-90s was an era of craziness as media coverage made unknowns into celebrities for 15 minutes. In 1995, a film was made and released just at the time when media coverage of these events were at an all-time high. The film isn't just a satirical view of the media but what one person would do to become famous in the film entitled To Die For.

Based on Joyce Maynard's novel, To Die For tells the story of an ambitious TV weather girl who wants to have fame and a huge TV career who decides to have her husband killed with the help of a few teenagers she profiled for a documentary. With an adapted screenplay by noted humorist and writer Buck Henry and directed by indie auteur Gus Van Sant, the film is made into a style of mockumentary as characters tell the story through interviews and flashbacks as it's all centered around this ambitious woman and her marriage to a simple, Italian restaurant co-owner whose simple ideas get in the way of her desire to be a news reporter. With an all-star cast that includes Nicole Kidman, Matt Dillon, Illeana Douglas, Joaquin Phoenix, Allison Folland, Casey Affleck, Dan Hedaya, Kurtwood Smith, Holland Taylor, Wayne Knight, Susan Traylor, Maria Tucci, Mike Rispoli, Tim Hopper, and special appearances from Buck Henry, George Segal, and Canadian auteur David Cronenberg. To Die For is a witty, entertaining, and provocative masterpiece from the duo of Gus Van Sant and Buck Henry.

A woman named Suzanne Stone (Nicole Kidman) is being interviewed about the murder of her husband Larry Maretto (Matt Dillon) as she talks about her story of meeting Larry years ago at his restaurant that's run by his family. Larry is a simple, young man with simple dreams who comes from a loving, Italian family that included father Joe (Dan Hedaya), mother Angela (Maria Tucci) and his ice-skating sister Janice (Illeana Douglas). Larry catches Suzanne's attention as he tries to win her over including getting a little dog named Walter as Janice recalls her dislike towards Suzanne. Even when Larry and Suzanne wedded, she felt Larry changed from a guy who wore heavy-metal t-shirts to something more conservative. Joe and Angela Maretto are also recalling Larry's marriage in a talk show interview with Suzanne's parents Earl (Kurtwood Smith) and Carol Stone (Holland Taylor along with Suzanne's sister Faye (Susan Traylor).

During Suzanne and Larry's honeymoon in Florida, Suzanne goes to a media convention where she catches the attention of a speaker (George Segal). He gives her advice on how to get attention by telling her story about an unnamed reporter who became famous. Suzanne and Larry return to their home in New Hampshire as she pushes her way to get a job at a local cable channel where she convinces the station's manager Ed Grant (Wayne Knight) to give her a job as she eventually became the weather girl. Though being on TV has given her satisfaction, Suzanne wants more as she decides to make a documentary about teens as she discussed the projects with some students as three of them join the documentary, Jimmy (Joaquin Phoenix), Lydia (Allison Folland) and Russell (Casey Affleck).

Immediately, Jimmy and Lydia befriend Suzanne as Jimmy begins to have a crush on her while Lydia feels like she finally has another woman to talk to. Yet with Suzanne's ambitions to become famous, Larry wants to have a family and have Suzanne more involved with the family business since he is set to run his father's restaurant business. Though Suzanne told Larry she'd think about it, but in reality, she decides that he must go. Getting into an affair with Jimmy, the young man is manipulated by Suzanne to have Larry killed. With Lydia providing the gun and Russell going along for the plan, the murder finally happens but evidence and suspicion occurs as Suzanne despite all of her planning let her own ambitions get the best of her.

Mockumentaries are a form of fictional documentaries where characters and such are interviewed in conjunction with the story. The film's story is really about a woman who is willing to become famous by any means necessary. Even if she has to kill her loving husband just to become famous. Told in a style of memories and interviews, screenwriter Buck Henry creates a story that is filled with a lot of dark humor, witty dialogue, and satire as his take on media coverage, tabloid TV, and ambition is truly one of the best script adaptations ever written. Even the characters like Suzanne, Larry, Jimmy, Lydia, and Janice prove to be more than just one-dimensional caricatures. Janice is a sister who like her brother, has simple ambitions while remaining devoted to her family while really being one of the few people who saw Suzanne as a phony. Jimmy may seem like a dumb, stoner character but his own naivete provides an innocence as a young man who finds some self-respect for the first time since Suzanne is one of the rare people to call him James.

Lydia is another character who is filled with character development as this chubby, insecure young woman who finds a friend in Suzanne and like Jimmy, becomes manipulated as she is one of the more real characters in the film as she is also one of the film's main storytellers. Larry at first glance might seem like a typical, Italian-American man with little ambitions but his love for simpler things and family makes him into a well-meaning man. Yet, when he is about to die, one would've expected him to fight back but the shocking behavior of his murder from Jimmy's point of view realized what the two men really are. Yet, the real arc of the film is Suzanne, a woman who doesn't really like to use her husband's last name for professional reasons. Yet, she's a very complex character who uses her sex appeal and charm to get what she wants while at the same time, she isn't a very smart woman when a camera or a media figure is involved.

A lot of the film's humor and satire should go to Buck Henry for his sharp, witty screenplay while helming this story into a kinetic visual style is Gus Van Sant. Van Sant's direction is extremely superb and hypnotic. The use of style and compositions that Van Sant presents gives a film that is enamored with the idea of a mockumentary. Suzanne's interview is shown through her talking behind a white background as she is talking to a camera. There's a few great scenes where Van Sant conveys a mood, particularly in the lighting as it plays to Suzanne's eerie ambitions where things go from light to dark. Even the use where the camera becomes a hole to target Larry's head confirms Suzanne's state of mind. Van Sant's approach to the ending is comical that involves a cameo by revered Canadian director David Cronenberg that is followed by an ironic ending. The overall direction of Van Sant is truly superb as his use of wit and humor creates a film that is entertaining and provocative.

Longtime cinematographer Eric Alan Edwards creates a wonderful, stylish photography with a sheer, bright look to many of the film's daytime exteriors with Ontario, Canada playing New Hampshire with its great shots of the snowy town. Edwards' interior work is wonderful to convey the sense of style and lighting moods as the film has a strange, noir-like feel to convey the mood of Suzanne. Editor Curtiss Clayton brings a wonderful style to the film's editing that has a somewhat, non-linear feel with the use of jump-cuts, slow-motion, and transitions. Even through the jump-cuts, there's moment of what the audience might've thought happened as the film plays through like a puzzle with Clayton's superb editing.

Production designer Missy Stewart and art director Vlasta Svoboda does a wonderful job in creating the suburban home of Larry and Suzanne with wonderful colors in the furniture and appliances while creating the poor homes of the teens she's profiled. Costume designer Beatrix Aruna Pasztor does an amazing job in the look of Suzanne's clothes where it's all in style from the colorful power suits and blouses she wears to her colorful underwear, dresses, and tight pants. The costumes that Kidman wears is extraordinary and fun to watch. Sound editors Kelley Baker and J. Paul Huntsman do excellent work in the sound to convey the suspense and atmosphere in the dramatic scenes of the film.

Music composer Danny Elfman creates a fun, hypnotic score that is reminiscent of the classic scores from the films of Alfred Hitchcock. With a mix of screeching, metal guitars, the score underplay the film's humor while adding a saucy sense of terror of what is to come. Elfman's score is truly superb as the soundtrack features memorable cuts from Eric Carmen, Billy Preston, Lynyrd Skynyrd, Strawpeople, Nailbomb, Donovan, and in the film's promos, Don Henley's Dirty Laundry.

The casting by Deirdre Bowen and Howard Feuer is wonderfully assembled with cameos and small appearances from Rain Phoenix, Buck Henry as high school teacher Mr. Finlayson, George Segal as a conference speaker, the film's novelist Joyce Maynard as Suzanne's lawyer, and David Cronenberg in a great cameo as a man at a lake. Notable small roles from Gerry Quigley as Ed's associate George, Michael Rispoli and Tim Hopper as two detectives investigating Larry's murder while having a funny scene with Joaquin Phoenix in his interrogation as the two actors also appear in scenes as the Maretto's restaurant regulars. Holland Taylor is fine as Suzanne's mother along with Susan Traylor as Suzanne’s sister. Kurtwood Smith has a memorable appearance as Suzanne's father who doesn't approve of Larry at first due to his background. Maria Tucci is great as Angela Maretto who is concerned about Suzanne's lack of desire to become a mother while Dan Hedaya is great as Joe Maretto, the father who helps Larry in the importance of family.

Wayne Knight is wonderfully entertaining as station manager Ed Grant as Knight's straightforward, comedic performance is fun as he plays a foil of sorts for Kidman while calling her character "gangbusters". Illeana Douglas is amazing as Janice Maretto whose quick-witted remarks about Suzanne is filled with a lot of humor while in some ways, plays the film's conscience as she is baffled by Larry's choice in wanting Suzanne as his wife. In his film debut, Casey Affleck is great as the trouble-making Russell who is more than willing to do crazy things while annoying Mr. Finlayson. Allison Folland is extremely superb as Lydia, a young insecure girl who is easily manipulated by Suzanne as she is often given advice about losing weight while for a moment, feels like she's fitting in as Folland's performance is truly memorable, which is also her film debut.

Joaquin Phoenix delivers a breakthrough performance as the dim-witted but sweet Jimmy who falls for Suzanne while finally getting some self-respect and confidence despite his own insecurities. Phoenix's laconic, subtle performance is amazing as the actor proved he can step into the shadows of his late older brother, River while proving to be one of the best actors of his generation. Matt Dillon is amazingly low-key as the charming, street-smart Larry Maretto. Dillon's engaging performance is fun to watch as he plays a man with simple ideas of family and love who is truly unaware of his wife's ambitions as Dillon is great in playing a character who eventually becomes a victim.

The film's best performance truly goes to Nicole Kidman in what is really her breakout role to American audiences. In the role of Suzanne Stone, Kidman brings a lot of layers to the performance as she is mean, conniving, manipulative, and cold whenever she's not getting what she wants or trying to control the situation. Yet, when she is at work or being part of some media event, Kidman adds a lot of energy and humor to the character that is sometimes heighten by the presence of the little dog Walter played by Misha. The whole film is Kidman through and through as it's a wonderful, star-making term for the Australian beauty.

When it was released in 1995, the film drew rave reviews and box office as Nicole Kidman received lots of acclaim including a Golden Globe win for Best Actress in a Comedy/Musical. The film proved to be Kidman's breakout role as she finally stepped out of the shadow of her then-husband Tom Cruise. The film also introduced the public to Joaquin Phoenix and Casey Affleck in which the latter would become one of Van Sant's key collaborators as his older brother Ben and friend Matt Damon would help bring Van Sant his biggest success with their own screenplay entitled Good Will Hunting.

To Die For is an extraordinary, witty, and entertaining masterpiece from Gus Van Sant and screenwriter Buck Henry helmed by a phenomenal performance from Nicole Kidman. Fans of black comedies and satires no doubt will enjoy this film while fans of Kidman will no doubt consider this her most essential performance. While fans of Gus Van Sant will consider this film to be his most accessible in comparison to art-house fares like My Own Private Idaho and Drugstore Cowboy to more experimental films like his recent Death Trilogy. The film is still one of Van Sant's quintessential films. In the end, for a film that is sexy, a great soundtrack, look, and witty commentary on the media, To Die For is the film that lives up to its title.

Gus Van Sant Films: Mala Noche - Drugstore Cowboy - My Own Private Idaho - Even Cowgirls Get the Blues - Good Will Hunting - Psycho (1998 film) - Finding Forrester - Gerry - Elephant - Last Days - Paranoid Park - Milk - Restless - Promised Land

The Shorts & Videos of Gus Van Sant - Auteurs #4: Gus Van Sant

(C) thevoid99 2011