Have You Seen It?: Titus

Shakespearean film adaptations are always interesting to witness.  They run the gamut from faithful (Olivier) to creative (Luhrmann).  Julie Taymor’s Titus, based on Titus Andronicus, falls under the creative category.  She brings her unique visual style to the project, and it works beautifully.

I was required to watch this film for a class in conjunction with my reading of the play, although I never think of movie-viewing as a “requirement” in the typical sense of the word, because I’m “required” to watch films on a weekly basis, and I hardly consider it a chore.  This instance was no different, mostly because I enjoyed witnessing Taymor’s strange and wildly captivating take on a notoriously violent and tragic play.

Taymor sets the play in an alternate version of ancient Rome in which modern technologies, such as cars and electricity, are used, but characters mostly dress in ostentatious versions of Roman garb and mostly use weapons from that era.  It’s a weird combination of styles and time periods, but it works.  It’s not completely modern, like Baz Luhrmann’s Romeo + Juliet, but there are obviously contemporary characteristics.  It’s not distracting that the candidates for emperor are riding in cars, because that just becomes the world of the film, and you accept it.  Taymor deftly blends styles to create a diegetic space that is completely her own.  It’s not ancient Rome, it’s not Elizabethan England, and it’s not modern day either.

The play is known for its violence and gore, and it has the largest death count among Shakepeare’s plays.  Taymor takes these violent events and makes them subtle and artfully portrayed for the first part of the film, and then toward the end the film becomes more overtly violent and bloody, so much so that I had to cover my eyes at times, wimp that I am.  While I was impressed that Taymor would go into such violent detail, and I certainly had a physical and emotional reaction to the images (which I respect), I would have preferred for the film to continue in the style of its first half and portray the violence more metaphorically.  The switch in the style of violence was too jarring for my taste, although I respected the creativity in choosing how certain characters would be killed (Shakespeare doesn’t always specify the method). 

Nevertheless, the violence wasn’t so pervasive that I had trouble enjoying the film; I absolutely respected Taymor’s fresh style in depicting  the story.  There are various strange nightmare sequences in which disturbing visual metaphors are used.  It’s unsettling but undeniably captivating.  And the costumes are gorgeous.  They beautifully blend time periods and styles and fit the personalities of the characters who are wearing them.  The set design is no less mesmerizing.  Great mansions with towering ceilings and enormous frescoes are lit by ornate chandeliers.  It’s certainly a theatrical presentation of the story, which is of course perfect for a Shakespearean adaptation.

If you’re a fan of Shakespeare, check this film out.  Even if you’re not a fan of Shakespeare, it’s wonderfully weird enough to be enjoyable on its own.  Just cover your eyes toward the end if you’re squeamish.

Biopics

So, there’s a rumor out there that Angelina Jolie is slated to play Marilyn Monroe in the third Marilyn biopic announced this summer.  This one is supposed to be based on a novel by Andrew O’Hagan, which tells the story of the final years of Monroe’s life through the eyes of her dog.  This news got me thinking about biopics, and I compiled a list of my favorites.  Some of these might not commonly be considered biopics, but they focus on the lives of real people, so that’s the only requirement in my book.

1.  A Beautiful Mind (2001):  Russell Crowe is brilliant in Ron Howard’s captivating examination of mathematician John Nash, a genius who suffered from schizophrenia.  In my opinion, Crowe was robbed of the Best Actor Oscar.  His performance is stunning, as is the script and all the supporting actors’ performances (Jennifer Connelly, Paul Bettany and Ed Harris in particular).  It’s overall a breathtaking film, and it rightfully took home the Oscar for Best Picture.

2. Bright Star (2009): Jane Campion’s look at the romance between Romantic poet John Keats and Fanny Brawne blew me away and left me in tears.  Ben Whishaw is flawless as Keats, and Abbie Cornish is stellar.  The visuals are gorgeous as well.  The colors and textures of nature are shown off in all their glory, and Fanny’s self-designed clothes are tres chic.

3. Ed Wood (1994):  My favorite Tim Burton film, and probably my favorite Johnny Depp film, is this uproarious, clever comedy about Edward D. Wood, Jr., an energetic film director who made horrendous films in the 1950s.  He also happened to enjoy wearing women’s clothing sometimes.  Johnny Depp is exceptional in everything, but I especially like his role here, because he makes Ed so sympathetic and lovable in all his eccentricities.

4. The Diving Bell and the Butterfly (2007): Julian Schnabel is a painter, so he’s suited to creating beautiful visuals.  Diving Bell is stunning to look at.  The cinematography is shocking and mesmerizing.  The film tells the story of a French magazine editor who suffers a stroke and becomes paralyzed.  He writes his memoir by blinking one of his eyes in response to a therapist reading aloud letters.  The story itself is incredible, but the manner in which Schnabel portrays the events (mostly from the subject’s perspective) adds powerful emotion.

5.  Catch Me if You Can (2002): I never get sick of this movie.  I’ve seen it so many times, and I still love it.  Leonardo DiCaprio plays Frank Abagnale, Jr., a young man who runs away from home and begins forging checks and disguising himself as a pilot, a doctor, and a lawyer to gain people’s trust.  Tom Hanks is the FBI agent chasing him.  Steven Spielberg’s film is as suave and swinging as the ’60s in which it’s set, and DiCaprio is spot-on in his portrayal of the teen con man.

6. The Aviator (2004): Once again, Leonardo DiCaprio gives a breathtaking performance as obsessive pilot and filmmaker Howard Hughes.  Martin Scorsese’s directing is brilliant, and the film is a fascinating look into the mind of an obsessive-compulsive man.  Cate Blanchett is also incredibly captivating in her Oscar-winning performance as Katharine Hepburn.  Much like Russell Crowe a few years before, I think Leo was robbed of an Oscar.

7. Milk (2008): Sean Penn is flawless in Gus Van Sant’s tribute to the life of gay political activist Harvey Milk.  The film is uplifting and heartbreaking, and the supporting cast (James Franco, Emile Hirsch, Alison Pill, Josh Brolin) is excellent.  The film’s visual style is likewise attractive.

8. Capote (2005): Everyone probably knows about the two Capote films that came out at about the same time (the other being Infamous) and told the same story of author Truman Capote’s experiences writing In Cold Blood.  I saw both films, and there’s no question Capote is better.  It takes a more serious, brutal look into the lives of two murderers and the eccentric writer who devoted his time to documenting their story.  Philip Seymour Hoffman is unrecognizable as the title man.  He becomes Capote, and as a huge fan of good ol’ Truman, I was satisfied.

Review: The Kids Are All Right

I noticed something at the movie theater today.  Well, besides the fact that the theater spelled the title of the movie incorrectly on the marquee, while using a word that doesn’t even exist.  After I got over that disappointment, I noticed that most of the audience for The Kids Are All Right (2010) certainly weren’t kids.  Not even close.  And that’s only partially all right with me.

Granted, the movie’s rated R, so I certainly wasn’t expecting a pack of high school freshmen to come waltzing in.  But the audience was overwhelmingly older.  I might have been the only young adult in the theater.  That’s not exactly new to me.  I’m used to seeing movies aimed at more mature audiences while my peers see slasher flicks and Will Ferrell comedies.  But I was disappointed today, because the film, a fresh, well-written, honest dramedy, seemed so suited to people my age.  While I’m impressed that so many older viewers came to see a film about a lesbian couple — hardly conservative material — I really wished the age difference between me and my fellow spectators hadn’t been so large.  I think more young people need to be eager and open to see more unusual, thought-provoking, heartfelt films that also happen to relate to them.  There’s more out there than just 3D.

Now that I’ve vented about that, let’s get to the movie itself.  The film stars Annette Bening and Julianne Moore as Nic and Jules, a couple with two teenage children (Mia Wasikowska and Josh Hutcherson) from a sperm donor.  Their son, Laser (I have no explanation for this name), is curious about his biological father (Mark Ruffalo), so he asks his older sister, Joni, to contact him.  Soon Paul, the sperm donor, becomes an unofficial part of the family, creating an unusual dynamic.

The film’s screenplay, written by Lisa Cholodenko, who also directed, and Stuart Blumberg, is pitch-perfect, the ideal balance between humor and pathos.  The characters have depth and personality, and they’re well-acted all around.  I especially liked Julianne Moore as Jules, a kid-at-heart mom looking for her calling in the shadow of her successful, perfectionist partner.  Mia Wasikowska is a fresh face (You might recognize her from Burton’s Alice in Wonderland [2010]) who I think we’ll be seeing a lot more of in the future.  I was also impressed by Yaya DaCosta, who played Tanya, Paul’s “girlfriend.”  Yaya was a contestant on America’s Next Top Model, and as a fan of the show (guilty as charged), I enjoyed seeing her so comfortable on the screen.  I know it’s a cliché that all models want to act, but this one definitely can.

The film takes tricky subject matter and turns it into a relatable, truthful film about family and marriage.  It’s not a preachy film focused on the difficulties faced by gay couples in society.  It simply focuses on the difficulties couples face.  The storyline between Nic and Jules is heartfelt in that it reflects what could happen to any couple after time — uncertainties arise.  It’s just that in this case a sperm donor is what sparks the confusion.  And Joni and Laser are going through the same issues all teenagers go through, and it’s not because they have a unique family situation.  It’s because they’re human.

I hope that more people my age see this movie.  I think anyone with a family can understand and relate to the issues addressed through the film.  It’s amazing that so many older people came out for such a fresh, alternative film.  But the young people need to be there, too!

Save the Rom Com!

Love classic rom coms and screwballs?  Hate what the genre has become?  You’re not the only one.  Maureen Dowd interviewed Sam Wasson, who wrote Fifth Avenue, 5 a.m., a behind-the-scenes book about the making of Breakfast at Tiffany’s, in the op-ed section of the New York Times.  The interview focuses on the demise of romantic comedies and the difference between classic rom coms and those of today.  I thought Wasson made valid points, and I share his sadness at the lack of truly witty and romantic films these days.  I especially liked his remark about one of my all-time favorite movies:

“If people only realized that Paramount in the ’30s and ’40s was the golden age of American wit. Algonquin Round Table, eat your black hearts out. The question is, will there be a backlash? A renaissance? I don’t think people realize how dire the situation is. I mean culturally, emotionally, the whole idea of romance is gone, gone, gone. … And I don’t care how good the novelist, I’ve never read anything that touches Kate Hepburn and Cary Grant in ‘Bringing Up Baby.’ Is it too early to drink?”

His comment inspired me to compile a list of my favorite romantic comedies.  Forget about your latest Katherine Heigl flick.  These are timeless gems of humor and romance that treat love with wit and intelligence.  Check some of them out.  They’re in no particular order.

1. Bringing Up Baby (1938): This film is, in my opinion, the ultimate screwball comedy.  Susan (Katharine Hepburn) is a madcap (I love that word, don’t you?  It’s thrown around a lot in this genre, but it’s never been more true than in this movie) heiress.  David (Cary Grant) is a bespectacled paleontologist waiting for the last bone to complete his dinosaur skeleton.  He also happens to be in consideration for a million-dollar grant.  But when he runs into Susan, she starts making his life difficult with various shenanigans involving a leopard named Baby and a yappy dog named George (the famous Skippy of The Thin Man).  Slapstick, fast-paced banter, and general hilarity ensue, all while the characters (at times begrudgingly) fall in love.  See it!  And if you get the special edition DVD, listen to Peter Bogdanovich’s commentary; it’s great.

2. Annie Hall (1977): If you’re familiar with Woody Allen, you know he’s witty.  And you know he pretty much specializes in funny romances about neurotic people.  This film won the Academy Award for Best Picture of 1977.  A lot of people thought it should have been Star Wars.  I think it was one of the coolest, most refreshing decisions the Academy’s ever made.  The film is about a comedian named Alvy (Allen) and his relationship with a carefree aspiring singer named Annie Hall (Diane Keaton, in very cool clothes).  The film tells the story of their relationship in an offbeat, original format.  The plot is nonlinear, beginning in the middle of their relationship and then revealing how they met, then jumping back and forth between time periods.  But it’s incredibly smooth and easy to follow.  Allen uses fresh techniques like subtitles for people’s thoughts and split screen.  The fourth wall does not exist, and there’s even an animated scene.  It’s a quirky, honest portrayal of romance, and I think it’s Woody Allen’s best.

3. The Philadelphia Story (1940): There’s nothing like a good Katharine Hepburn comedy.  She was so wonderfully witty.  And when Cary Grant and Jimmy Stewart are invited into the mix, it’s even better.  The film is about Tracy Lord (Hepburn), who has divorced C.K. Dexter Haven (Grant) and is remarrying.  But during preparations for her wedding, a journalist (Stewart) arrives to cover the event, and her ex-hubby shows up, too.  She’s torn between her ex, the cute new reporter, and her fiance.  It’s a light, smart film, made excellent by the incomparable Hepburn.

4. The Awful Truth (1937):  Cary Grant and Irene Dunne star in this great screwball comedy about a couple getting divorced.  Not to be confused with The Ugly Truth (Please don’t confuse them!), the film is a tongue-in-cheek exploration of marriage and divorce, and the leads are simply wonderful.  Skippy’s in this one, too.  He’s kind of the mascot of the 1930s screwball comedy.

5. Barefoot in the Park (1967):  This film is based on a Neil Simon play, so you know it’s good.  It’s about a newly married couple (Jane Fonda and Robert Redford) moving into their first apartment.  It’s not an easy transition.  They deal with various complications, such as a leaking roof, a tiny bedroom, weird neighbors, and the like.  The leads are hilarious and lovable, and the story, while laugh-out-loud hilarious, stresses the importance of sticking together as a couple.

6. My Favorite Wife (1940): This comedy, also starring Grant and Dunne, is about a woman who was believed to be dead, but comes back after being deserted on an island for years only to find out that her husband has remarried.  The couple must deal with this problem while figuring out if they still love each other.  It’s wacky and romantic.

7. Breakfast at Tiffany’s (1961): Who could forget this one?  It’s based on a novella by Truman Capote, but it’s not exactly the same story.  In the film, Holly Golightly (the always-charming Audrey Hepburn) is a socialite and “call girl” who falls in love with her writer neighbor (George Peppard).  The film isn’t flawless.  In fact, it’s quite campy and melodramatic at times, but it’s a classic.  No one compares to Audrey Hepburn.  She’s an icon.  And who doesn’t love “Moon River”?

8. The Apartment (1960):  This film was directed by Billy Wilder, so you know it’s a good one.  It has the most drama out of any of the comedies on this list, but it’s still an ideal rom com.  It’s about a businessman (Jack Lemmon, of course) who tries to impress his higher-ups by letting them conduct secret rendezvous in his apartment.  He ends up falling for his boss’s mistress (the heart-breaking Shirley MacLaine), unaware of her complicated situation.  Lemmon is charming, and it’s an adorable little film.  It won Best Picture, too.

 

9. It Happened One Night (1934): Another great screwball comedy that won all the major categories at the Academy Awards (Picture, Actor, Actress, Directing, Screenplay).  It’s the story of a spoiled heiress (Claudette Colbert) who runs away from home and ends up hitch-hiking with a reporter (Clark Gable) who’s interested in a scoop.  Sound familiar?  Yeah, the plot was reworked multiple times, including in Roman Holiday.  But this one is special.  It’s sweet and witty.

10. Amelie (2001): This one’s an unusual romantic comedy that I’ve already written about.  It’s simply a make-you-smile, feel good movie about love and human relationships.