Welcome to WeeklyWilson.com, where author/film critic Connie (Corcoran) Wilson avoids totally losing her marbles in semi-retirement by writing about film (see the Chicago Film Festival reviews and SXSW), politics and books----her own books and those of other people. You'll also find her diverging frequently to share humorous (or not-so-humorous) anecdotes and concerns. Try it! You'll like it!
Connie has been reviewing film uninterruptedly since 1970 (47 years) and routinely covers the Chicago International Film Festival (14 years), SXSW, the Austin Film Festival, and others, sharing detailed looks in advance at upcoming entertainment. She has taught a class on film and is the author of the book “Training the Teacher As A Champion; From The Godfather to Apocalypse Now, published by the Merry Blacksmith Press of Rhode Island.
David Ehrlich of “Indiewire” wrote of “Daughters,” that it was “An enormously moving documentary” and that it had “as much ugly-cry potential as anything in recent memory.” The film, directed by Angela Patton and Natalie Rae, gives us the background on a unique father-daughter dance for D.C.-area Black girls whose fathers are in jail. Ehrlich called it “A damning portrait of America’s prison-industrial complex.” The information that single mothers struggling to make it on their own while their significant others are incarcerated for years makes the point that the relatives are charged to visit their loved ones. This seems like adding insult to injury, although the inmates obviously committed crimes that led to their incarceration, which is downplayed in this documentary.
In order to be allowed to participate in the daddy/daughter dance the prisoners must take a course in parenting. Some of the participants admit that, initially, they only signed up for the daddy/daughter instruction in order to get an extra in-person opportunity. Later, they say that participating has been beneficial to them as people. Indeed, the recidivism of the men who take part seems to be much better than the average prisoner. The testimony of the prisoners is very interesting, but the leader of the class is pedantic and not very interesting, for the most part. It is far more engrossing to listen to the prisoners, the children and the women waiting on the outside. For me, the sequences that involved the instructor teaching the class were only interesting when the prisoners were allowed to talk and tell their stories. This film could have dispensed with the pedantic prison employee and simply cut from prisoner’s story to prisoner’s story with better results.
Little Aubrey at age 5 is enchanting. The film goes back 8 years later, and the bright little girl has become a jaded teenager who says she never wants to be a mother and expresses her broken spirit in so many other ways. Mark (a prisoner) who is the father of Santana reveals that Santana was born when her mother (Diamond) was only 14 and he was 16. The personal details are enlightening, but the segment goes on too long. The entire film needed a good editor.
Music supervisors Sunny Kapoor and Connie Edwards did a fine job, and the film provides enough food for thought to keep us pondering for weeks. It won a Festival Favorite Award at Sundance (2024) for the directors’ first feature documentary.
But, in terms of the story this film is telling, the prison system beat goes on, and it is heart-wrenching.
All of the introductory pictures on the Sundance page featured this Jesse Eisenberg film, which he wrote, directed and starred in. The film won the Waldo Salt Screenwriting Award at Sundance (some choice lines from the script to follow.)
Jesse Eisenberg plays David Kaplan and Kieran Culkin is his cousin, Benjy. Following the death of their Grandmother, a Holocaust survivor, the two travel to Poland with money she left them for the trip, and ultimately end up joining a tour of concentration camps. Jennifer Grey portrays Marcia, a divorced woman who is on the tour with the cousins.
Benjy is in crisis. We learn this as the trip progresses. As cousin David (Jesse Eisenberg) says of Benjy, “You’re like an all-encompassing individual.” He also says of Benjy, “I love him and I hate him and I want to kill him and I want to BE him.” Benjy is well-played by Kieran Culkin who steals most of the scenes. The reasons for his depression are not totally explained to us. His fascination with airports, while interesting, is another oddity.
Here are some of the good lines from the honored script:
“There but for the grace of no God go I.”
“You have the most effed-up sense of proprieties.”
“You light up a room and then you shit on everything inside of it.”
Jesse Eisenberg’s first directorial effort was 2022’s “When You Finish Saving the World.” Both films were produced by Emma Stone’s production company, Fruit Tree.
This outing was much more professional. The ending left something to be desired, but it was a very enjoyable film.
Sundance Film Festival is ending its 40th run on January 28th. I’ve been streaming many of the award winners, including these, in alphabetical order:
“A New Kind of Wilderness”
“A Real Pain”
“Daughters”
“In the Summers”
“Kneecap”
“Little Death”
“Porcelain War”
“Suncoast”
[I’ll be telling you about the above films in installments over the next few days, so tune in.]
Although “A New Kind of Wilderness” is first on the list because it is alphabetically first, I think it may be my favorite of the 8 listed, which are award winners. “A New Kind of Wilderness” won the World Cinema Grand Jury Prize.
The beautiful part of “A New Kind of Wilderness” is that it is a documentary, but also contains a wonderful story of how a couple in Norway (he is British; she is Norwegian) chose to drop off the grid and raise their children on a farm in Norway. As Nik, the father of Freja, Falk, Ulv and step-father of Ronja tells us, “We want to be independent, free, and full of love.” He added, “We govern our own lives…When you choose a life that is so dependent on yourself, you have a certain authenticity.”
The children have no television, no electronic devices, are home schooled, and learn about growing their own food and hunting and butchering animals for food. The father, Nik, warns the children that traditional schooling teaches, “You can be yourself, but only if you fit in and follow the rules.”
But then the children’s mother, Maria Gros Daine, dies and the group is forced to sell the farm and move to the city. They also spend 4 months in England visiting Nik’s parents, but the kids obviously do not want to move to England, although he temporarily considers it, because, as he said, “It’s a lot harder being alone.”
The entire story was basically the 2016 film “Captain Fantastic” starring Viggo Mortensen and written and directed by Matt Ross. The director was Silje Evensme Jacobsen and she got the idea of the film from Maria’s blog wildandfree.no and worked on developing the gorgeous images from it (Maria was a professional photographer) into this film. It was very well done and the plot mimicked Matt Ross’ plot line as the children are gradually introduced to the electronic world and school and they begin to enjoy learning and socializing, which is both a good thing and a bad thing. It is a good thing because living off the grid is also an isolating experience, but it is also bittersweet to hear Frija tell her father she would rather go to school than play hooky and go camping with him.
It was a beautiful film and all of the issues in the “Captain Fantastic” film were addressed using real-life participants in the adventure of dropping out of normal life to live an exceptional life, the good, the bad, and the ugly of it all.
Somewhat downplays the gift her voice has been to her life path.
Seems to have OCD tendencies, even as to placement of flowers.
Naturally curious.
Seems to have built a “family” from those she found more supportive of her.
Takes a few swipes at good old “Marty” (her manager),and at Mandy Patimken and others. Seems to want to portray herself as someone who others were constantly seeking for intimacy, yet she doesn’t share much about her “lovers.” In fact, she seems to be rather coy about whether or not a certain famous individual was or was not someone with whom she shared physical intimacy.
James Newton Howard seems to re-surface as someone who had a crush on her.
The Jon Peters guy sounds like a real shyster and opportunist, and that seems to have been how he was viewed by the Hollywood community, as well.
Loyalty to Prince—now King—Charles and to Pierre Trudeau. Probably explains her views on Meghan Markle, recently articulated.
Doesn’t say much about Elliott Gould, with whom she shares her son, Jason. Kind of implies that they just drifted apart, he wasn’t good-looking enough, and he had a gambling problem and possibly a drug problem later in life. Discusses Jason’s homosexuality in passing and claims he has a phenomenal voice. Jason is now 58 years old and, while he did release an album some years ago and sang with his mother on one of her tours, he doesn’t seem to have done much creating, musically speaking.
Seems to have found a man in James Brolin who can take her independent attitude in stride.
Starred or appeared in 19 films, but sounds like she is done.
Music seems to be the thing that she might continue doing to the bitter end, a la Tony Bennett, especially if it doesn’t involve touring or appearing in person.
Very detail oriented, to the point that would drive many people insane. (Lighting, rewriting lyrics, etc.). She actually requested that famous songwriters like Stephen Sondheim rewrite song lyrics for various reasons and other “pushy” things.
Tells some interesting stories about her famous friends (Donna Karan is one, Prince Charles, Secretary of State Madeline Albright, the Clintons) but doesn’t really dish much new dirt. Before I read the book, the Big Story seemed to be her rejecting Mandy Patimkin as a potential fling, saying she did not find him attractive. The truth hurts, but good for you, Barbara. [Nobody finds Mandy Patimkin attractive.]
Mandy Patimken.
*Barbra’s father, Emmanuel Streisand, died at 35 and she was told by her cold mother that she kept waiting for him to return for days, sitting by the window. In her own words, “In some ways, I’m still waiting.”
*Her book is dedicated this way: “This book is dedicated to the father I never knew, and the mother I did…” She, basically, says she loved her mother but she didn’t “like” her. Her mother seems to have had serious jealousy issues about Barbra’s phenomenal success and hurt her many times, both intentionally and unintentionally. Fortunately, Babs bonded with many women who were older than she is and they served as “surrogate” mothers. One of the more famous was Bill Clinton’s mother.
*She talks about how she doesn’t really take care of her voice and doesn’t like to warm up, etc. She also has crippling stage fright, brought on by having forgotten the words to a song while performing at a free concert in Central Park.
*Outspoken – Recently, Babs came out swinging against Megan Markle. She criticized everything about the woman, from her acting prowess to her relationship with the Royal Family. It has made all the tabloids and seems to be a throwback to her great friendship with King Charles and loyalty to him. Barbara doesn’t say that she and Charles had “a fling,” but she tells a semi-racy story about his dog coming in to get in bed with her one morning when she is visiting England.
Jason Gould and Mom Barbra Streisand.
*The Jon Peters romance (he was her hairdresser) was one of the chapters in her life that she attributes to her “hippy” phase. He sounds like a real piece of work! He is portrayed in the movie “Licorice Pizza” and it isn’t pretty. He did rise to become the head of a studio, but he sounds like a real insecure opportunist. One thing that attracted her to him was that they both had sons about the same age.
*Barbra seems to have a fairly ruthless way of dealing with disloyalty. In her own words, “When I’m done with something, I’m done!” She describes cutting Agent Sue Mengers out of her life when she suspected that the woman had leaked some things to the media.
*She reveals that she has heard weird noises in her head since childhood.
*Several times in the book Barbra repeats this line from George Bernard Shaw’s play “St. Joan:” “It is an old saying that he who tells too much truth is sure to be hanged.” She also says, “I’ve always believed in telling the truth, but it has gotten me in trouble over the years.” We saw Barbra in concert in Chicago right before a presidential election and her remarks to the audience supportive of the Democratic candidate caused the couple next to us to yell (loudly), “Just shut up and sing.” I happen to agree with most of her political opinions, so I’m not one of the MAGA crowd who would be this rude. It was an “okay” concert, but it was not the Experience of a Lifetime I had hoped it might be, as I had been a fan for years.
*The book goes down easy and is a good read, but she goes into detail after detail after detail about every outfit she ever wore in her life, which reminded me of my own dear mother, who resembled Barbra’s mom in that she was not one to praise or express warm, fuzzy things, but I have tried to understand her chilly treatment of me in light of her own career and its demands. Barbra has had years of therapy and she tries to be even-handed about her mother’s indifference or jealousy towards her.
There is no question that Barbra Streisand is a formidable talent. She is a lot. I love her singing; I like most of her movies, so I enjoyed reading the behind-the-scenes stuff but I felt she put entirely too much time describing every outfit she ever wore in her life and casting herself in the most positive light possible, with all kinds of effusive notes of praise and uber-flattering photos.
I just watched George Clooney’s film (he directed) “The Boys in the Boat.”
My spouse did not want to watch it, declaring it to be “too predictable.”
THE GOOD
I wanted to see Joel Edgerton in action as the coach, and the lead actor playing Joe Rantz (Callum Turner) was a new star, for me. He’s British and the Brits have been saying he is “the star of tomorrow” since 2014, which is 10 years ago. He’s 34 now (born in 1990) so perhaps a better title would be “the men in the boat.”
I did notice that the pictures at the end of the movie featuring the real Washington crew were all very handsome young men. They had great teeth, The love story between Joe Rantz (Callum Turner) and Joyce Simdars (Hadley Robinson) was nicely done.
The cinematography was also wonderful, although all of the close-ups on the oar locks made me think that one of them was going to give way at a crucial moment.
The “boys in the boat” were the crew members who journeyed to Hitler’s Germany for the 1936 Olympics. I have watched another documentary about how piqued Hitler was when Jesse Owens performed so brilliantly, defeating his Aryan athletes.
THE BAD
We know how this movie comes out before it even starts. In that regard it reminds of the movie about space launches where we know whether the launch went well or poorly.
My husband was right that it was “too predictable,” but it was still worth a look.
Since (Scott) Beck & (Bryan) Woods selected “The Iron Claw” to open their new Davenport (Iowa) theater, and it is doing well at the box office, while Jeremy Allen White is really gaining steam as a leading man, I went to see “The Iron Claw” here in Texas. Texas is definitely Von Erich territory, site of the Dallas Sportatorium where much of the wrestling matches of yesteryear took place. (“Please note: There will be spoilers.)
“The Iron Claw” recounts the mostly “true story of the inseparable Von Erich brothers, who made history in the intensely competitive world of professional wrestling in the early 1980s. Through tragedy and triumph, under the shadow of their domineering father and coach, the brothers seek larger-than-life immortality on the biggest stage in sports.” “The Iron Claw” is the mostly true story of a wrestling family whose real surname was Adkinsson. Their stage name in the wrestling world was Von Erich. Jack Barton Adkisson wrestled under the name Fritz Von Erich and then encouraged his sons, Kerry, Kevin, David and Michael, to follow him into the ring. (*Son Chris also wrestled, but less successfully than his brothers, and is not depicted in this film, for reasons that don’t seem to make sense.)
CAST
Written and directed by Sean Durkin (“Martha Marcy May Marlene” and TV’s “Dead Ringers”), “The Iron Claw” stars Zac Efron (“High School Musical 3: Senior Year”); Jeremy Allen White, who first came to my attention as the character Lip (Philip) in the television series “Shameless;” and Maura Tierney of “The Affair.” Holt McAllany (“Mindhunter,” “Fight Club”) was the standout for me, and when you check out his credits, that is not surprising. Lily James as Pam, Kevin’s wife, is also very good, and Bill Mercer as Michael J. Harney is also good in his part.
However, I came to see Jeremy Allen White, and for more than an hour, I thought I’d walked into the wrong movie.
Jeremy Allen White is hot, right now, as the star of the television series “The Bear.” He walked off with the Golden Globe and the Critics Choice awards in the past week. You really get the feeling that Jeremy is slated for great things dramatically. This film, unfortunately, doesn’t give him that much to do. He doesn’t have the physicality of Zac Efron, but, considering the lengths to which Zac Efron went, maybe that is a good thing. Jeremy admitted on the late night talk shows that he was a novice to the wrestling world. (He gave much credit to Chavo Guerrero, who both instructed the non-wrestlers in the cast and portrayed the character The Iron Sheikh.)
The two other brothers we see portrayed onscreen are David Von Erich (Harris Dickinson of “Beach Rats”) and Michael Von Erich (StanleySimons, “Angelfish”).
FACTS NOT IN EVIDENCE
According to Wikipedia, Fritz and wife Doris had six sons: Jack Barton Jr. (September 21, 1952 – March 7, 1959), Kevin (born May 15, 1957), David (July 22, 1958 – February 10, 1984), Kerry (February 3, 1960 – February 18, 1993), Mike (March 2, 1964 – April 12, 1987) and Chris (September 30, 1969 – September 12, 1991). Of Adkisson’s six sons, Kevin was the only one still living by the time Adkisson died in 1997.
The couple later separated and Doris divorced her husband on July 21, 1992 after 42 years of marriage.” The movie didn’t make any mention of the exact manner in which the couple’s first child, Jack Jr., died, but Wikipedia says that it was an accidental electrocution and drowning when the child was just 7 years old. The movie also did not mention the youngest child, Chris, and the couple’s divorce after 42 years of marriage was also glossed over. (Adkisson died of lung and brain cancer just 5 years after the divorce.)
PLOT
Kevin Von Erich, the only surviving Von Erich brother.
The movie references the fact that the family is cursed.
As the plot unfolds, it seems to be more a case of the overbearing father’s parenting techniques than of a curse. Kevin’s wife, Pamela says there is a belief in good or bad luck and then there is the belief that we make our own luck. It seems that the constant emphasis on being the best and being strong and winning drove three of his sons to kill themselves. The script repeatedly articulates this thought:“If we were the toughest, the strongest, the most successful, nothing could ever hurt us.” That turns out to be bad advice, and the underlying message seems to be that men should be allowed to have a vulnerable, sensitive side.
There were some things in the film that were murky. For instance, did Daddy Fritz embezzle money, either from his hard-working sons or from the promoters who underwrote his wrestling emporium? Why did writer/director Sean Durkin decide to leave the youngest son, Chris—who also committed suicide at 21—out of the movie? Yes, I read that he thought 3 sons who killed themselves was just one too many, but Chris, the baby, had the most cause, as he didn’t have the physical gifts of his older brothers and was struggling to fit in. That would seem to have been a good plot point, as the four brothers who were better known were generally gifted athletes. In fact, Kerry (Jeremy Allen White) is only shown joining the family business after Jimmy Carter took the U.S. out of the 1982 Olympics and, therefore, destroyed Kerry’s hopes of going to the Olympics as a discus competitor.
For that matter, why didn’t he give Doris, portrayed by seasoned veteran Maura Tierney (“The Affair”) more dramatic eulogy scenes at any of the funerals for her sons? Maura Tierney could have hit that ball out of the park. Instead, she has a very pedestrian part that could have been so much more. Opportunity lost.
Was son Kerry’s motorcycle accident no more than that? The way it is portrayed in the film, it looks like that might also have been a suicidal gesture. And brother David’s (Harris Dickinson) insistence that he is “okay” when he is vomiting blood also seemed self-destructive and suicidal. (He dies in Japan from a ruptured intestine.)
I was surprised that Jeremy Allen White didn’t appear in the film until roughly an hour into the 2 hour 12 minute movie. Jeremy Allen White is white-hot right now, coming off his Golden Globe, Critics Choice and Emmy wins for his lead role in “The Bear.”
The actor who impressed me the most was not any of those who got top billing, but Holt McCallany who played the boys’ father. He was awesome. While everyone was impressed by how ripped Zac Efron appeared as Kevin Von Erich, at only 5’ 8” he looked too animalistic for my tastes. The other actors portraying the Von Erich brothers appeared more “normal” in appearance.
I also thought the “meeting in heaven” was odd. It’s nice to have a happy ending, but the failure to portray one dead brother (Chris) at all just made it seem weird, to me.
I was never much of a pro wrestling fan, but I enjoyed the film. Also a small shout-out to Aaron Dean Eisenberg, who portrayed Ric Flair with—-well, flair. He was a hoot.
The Golden Globes are now in the books and critics are critical of the host ( I thought he did okay).
I was not totally surprised that “Oppenheimer” had a sort of minor sweep going on in various areas. It was an important film and Christopher Nolan has been nominated six times and never won for Best Director, so perhaps it was “his” time.
I, however, feel that Martin Scorsese—given his prominence in the field and his iconic status—has also been passed over far too many times, especially in the category of Best Director at the Oscars. I think he has only won the Best Director award once (“The Departed”) and yet his films through the years are classics. He deserves better.
The films or television series that seemed to have mini runs were “Succession,” “Poor Things,” and “Oppenheimer,” but “Barbie” and “Killers of the Flower Moon” had moments, as well.
The recipient that stays in my mind the most was the Best Supporting Actress (Da’Vine Joy Randolph) from “The Holdovers.” I was pleased that she won, but she almost fell out of her dress (cleavage) while accepting her award, and I’m pretty sure that she thanked the wrong organization, as the HFPA (Hollywood Foreign Press Association) fell from grace a year or so ago and the awards ceremony is now owned by Dick Clark Productions.
Seeing the nominated films and categories (they put in a new one for Box Office and a new one for stand-up comedians) made me compose my own Top Ten Films of 2023.
Let me first preface this list by saying that it is not in any particular order, but simply the films I enjoyed the most this year. (I hated “May/December,” so….). It’s pretty much alphabetical.
I think my two favorite discoveries were “Dream Sequential” and “Poor Things” because they were so extraordinarily original (and off-the-wall.)
Here is my list, in alphabetical order:“Air”
“American Fiction”
“Barbie”
“Dream Sequential”
“The Holdovers”
“The Killer”
“Killers of the Flower Moon”
“Oppenheimer”
“Poor Things”
“Saltburn”
Director of “Dream Sequential.”
There is one documentary that I thoroughly enjoyed, and that is “The Disappearance of Shere Hite.” It isn’t a “movie” in the sense of the films on the list above, but it was quite well done and I enjoyed it a great deal. I also should explain that I alphabetized films that started with “The” by the important word (“Holdovers”).
I realize that there are other films that have made many lists, including “Maestro,” “May/December” and “Past Lives,” but no. Just no.
I have a few (I’m always late to the animated films) that I may wish to mention later, but I am giving you my list of the Ten Best or Ten Most Enjoyable. Most of them have reviews earlier on my blog, so enjoy.
Yorgos Lanthimos is known for helming movies that are bizarre and weird. Once you’ve seen Colin Farrell in “The Lobster” (2015) you get the idea that Lanthimos’s films will be far-out. That is certainly true of “Poor Things.”
Having said that, it is such a pleasure to have an original concept that is so well executed. This film (and Nicolas Cage’s “Dream Sequential”) are two of themost original films of the year 2023. In a world of Marvel comics and endless sequels, the originality of Lanthimos is refreshing; this film is truly entertaining, if you’re open to the weird. (I write this from Austin where the town motto is “Keep Austin weird.”)
This adaptation of Scottish author Alasdair Gray’s novel “Poor Things” was something that Lanthimos had been working on even before the author’s death in 2019. Poor Things (1992) discusses Scottish colonial history using a Frankenstein-like drama set in 19th-century Glasgow, where Gray spent his entire life. Godwin ‘God’ Baxter is a scientist (Willem Dafoe) who implants Bella Baxter with the brain of her own unborn child after Bella’s suicide.
“Poor Things” was Gray’s most commercially successful work. The London Review of Books considered it his funniest novel. It won a Whitbread Novel Award and a Guardian Fiction Prize.There is Oscar buzz for the adapted screenplay by Tony McNamara. And there should be, as he has done a fantastic job of creating just the right blend of language for the child-becoming-adult-female. Listening to the scripted lines reminded me of hearing your child “create” language of his (or her) very own. It’s amusing, until you think about the wisdom that the lines convey. At that point you realize that this script is perfect for the material (which doesn’t alwayshappen) , just as your son’s “pasghetti” misstep is precious and somehow perfect.
The opening scene is a close-up of an embroidered satin blanket, which, in itself, is unusual. After that, we see Emma Stone jump off a bridge. Just as Gray’s work was compared to that of George Orwell and Franz Kafka, this off-beat novel is a logical fit for Yorgos Lanthimos (although some Scottish folk may not care for the director’s poetic license). The film put Willem Dafoe in a make-up chair for 6 hours as his character’s Frankenstein-like facial scars were applied for 4 hours and then removed at the end of the shoot, during an additional 2 hours.
With the plot concept of a fully-grown female’s body, but the brain of an infant, Emma Stone was given the role of a lifetime. Her childlike infatuation with life is conveyed through her sparse vocabulary (she islearning 15 new words a day) and her awkward, ungainly gate, is almost like a newborn deer.
Bella Baxter articulates thoughts like, “Bella nowhere girl.” (Kudos to McNamara,) Her fresh, unjaded perspective on life and society makes Bella yearn to experience everything. She has been told by her guardian (Godwin “God” Baxter) that she should “push the boundaries of what is known. That is the only way to live.”
A pure-hearted admirer, Godwin’s assistant Max McAndles, played by Ramy Youssef, proposes to Bella, but she runs off with Duncan Wedderburn (Mark Ruffalo). Their time together leads Bella to say, “What a confusing person you are, Duncan Wedderburn” and, ultimately to conclude, “I shall need a husband with a more forgiving personality.”
As for Duncan’s assessment of Bella after they travel the world engaging in “furious jumping” (a euphemism for non-stop fornicating), Duncan says, “You don’t know what bananas are and yet you know what empirically means.” Both Mark Ruffalo and Willem Dafoe deserve praise for their Oscar-caliber trio. Ruffalo has already won for Best Actor at at least two film festivals, including the National Board of Review awards and the Santa Monica Film Festival.
Lines like “Your sad face makes me discover angry feelings for you,” “We are all cruel beasts,” and “Protect yourself with the truth” are fresh, original, timely, and display childlike wisdom. Watching Bella’s growth as an adventurous adult female is inspiring to other adult females; each male she encounters seems to represent yet more ways of keeping the female of the species down and preventing Bella (as their representative) from reaching her full potential.
COSTUMES
At the beginning of the story, Bella dresses in more traditional clothing of the Victorian era. Following her transformation, begins to dress herself in more bizarre clothes or more corseted styles. Costume designer Holly Waddington should snag an Oscar nod, but she will have some competition from “Napoleon’s” costumes.
SETS
The set designs are also Oscar-worthy, with a pastel sci-fi steampunk fantasy look created by set designer Zsuzsa Mihalek. There are, literally, eleven other art direction folk credited, and they deserve accolades for the entrancing sets meant to represent a variety of cities that Bella and Duncan visit, including time spent on an ocean liner.
CINEMATOGRAPHY
Principal photography took place in Hungary. It began in August 2021 at Origo Studios in Budapest. The film wrapped in December of 2021 having coped with preparation during the pandemic. According to cinematographer Robbie Ryan, Francis Ford Coppola‘s Bram Stoker’s Dracula served as the main source of inspiration for many things in the film.
The film is an over-the-top, creative criticism of how men try to keep women in their place. Even the good-hearted Max attempts to curb Bella’s adventurous spirit. Considering the message which we also saw in this year’s “Barbie” (and in last year’s “Women Talking”) this Oscar-worthy acting tour de force from Emma Stone is going to be tough to beat at Oscar-time this year, although I’d expect “Maestro’s” Cary Mulligan to be nominated, as well.
It’s such a hilarious romp and packs so much wisdom into the brilliant and amusing screenplay, but be warned if you’re squeamish about nudity and sex, because, during her adventure with Duncan, Bella works as a prostitute in a brothel. There is also a fair amount of gore, including surgery on dead bodies, as Willem Dafoe as a sort of mad scientist surgeon is constantly operating in his Frankenstein-ian lab.
But the film’s happy ending sees Bella returning to the terminally ill Godwin and preparing to marry Max McCandles. Does that work out? You’ll have to watch the film to the end to find out. It’s definitely one of the year’s Ten Best, so, for me, it was a pleasure.
As a fan of Michael Mann’s work (“The Insider,” “The Last of the Mohicans,” “Heat”), I ventured out to see Adam Driver as Enzo Ferrari in the December 25th release “Ferrari.” Mann has long been well-acquainted with racing and with Ferrari. Mann was one of the executive producers of “Ford v Ferrari” (2019), the superior film with Christian Bale and Matt Damon. The current Adam Driver movie is a long-time labor of love for the 80-year-old director. Christian Bale was attached as the lead at one point, and, after him, Hugh Jackman.
The budget for the Christmas day release is listed as $95 million to $110 million. Sadly, it has earned less than 10% of that amount back since its recent release. It was #9 in domestic charts, well behind all 6 of the other domestic recent releases and was not doing that well on Netflix, either. One wonders if Mann’s proposed plans to release a sequel to “Heat” will suffer as a result of this misstep with “Ferrari.”
THE GOOD
I had heard that the racing scenes were good. Certainly the phenomenal crash that ended the Mile Miglia race forever in 1957 was impressively staged. Nine people died in that 1,000 mile race when driver Alfonso de Portago struck something in the roadway. The tire blew out, and the car crashed spectacularly, killing a total of 9 people, including the driver and onlookers, 5 of whom were children. The way it is staged in this film, the audience might well think that it might have been sabotage. The crash spelled the end of the Mile Miglia race forever. A lengthy court case dragged on with manslaughter charges finally being dismissed by the courts in 1961.
The acting from such stalwarts as Adam Driver, Shailene Woodley, Penelope Cruz,Jack O’Connell and Patrick Dempsey is fine. One reviewer gave Cruz special praise for displaying fire in her role as Laura Ferrari, Enzo’s wife. To me, she seemed quite one-dimensional, presenting a sour and intense presence throughout, even when just walking along a city street.
Laura Ferrari had many reasons to be depressed and bitter. Her son, Dino, died of muscular dystrophy the year before the Mile Miglia race (1956) at the too-young age of 24. Laura also learns that her philandering husband has a second family, including a young son, midway through the movie.
Adam Driver as Enzo Ferrari. (Photo Credit: Lorenzo Sisti).
I was struck by the sheer physicality of Adam Driver. An ex-Marine, is 6 feet 2 and ½ inches tall. How tall was Enzo Ferrari? In photos of Driver with other cast members, he seems to definitely be the tallest one in the room. While Enzo Ferrari looks slightly taller and bulkier (in old photos) than the Italian males he is standing alongside, Driver just doesn’t seem like the ideal choice to portray an Italian male. My impression of European men, in general, (during my stint as a foreign exchange student abroad), is that they are not physically as large as their American counterparts.
Other than his sheer physical size, Driver seems very controlled and “stiff upper lip-ish” when onscreen. The catastrophic crash, the arguments with his wife over his mistress (and with his mistress over hiswife), the scenes where he visits his son’s crypt: he is controlled throughout and doesn’t display much emotion. Troy Kennedy Martin wrote the script, based on the 1991 Brock Yates biography “Enzo Ferrari: The Man, the Cars, the Races, the Machine.” Is the script at fault for this impassive nearly one-dimensional presentation.
Staging the race scenes and the crash was a fantastic achievement. The countryside is beautifully photographed by cinematographer Erik Messerschmidt. Getting the period details (including the many period cars) “right” must have been daunting. The music (Daniel Pemberton) is good; music is always key for Michael Mann.
Newcomer Gabriel Leone as Alfonso de Portago. (Photo Credit: Lorenzo Sisti).
The young boy playing Ferrari’s illegitimate son (Guiseppi Festinesi) does a fine job. The actor portraying the doomed Alfonso de Portage, Gabriel Leone, bears a close resemblance to the actual driver, who was Spanish nobility and once competed with the Spanish bobsledding team at the Olympics.
In the film de Portage’s romance with actress Linda Christian (Sarah Gadon) is highlighted. She is said to have broken up with actor Tyrone Power to date the race car driver. One of the better lines in the script is Ferrari’s comment to the press, after laying down the law to his new race car driver that he must not have starlets joining him at the garage because the press then spends all of their time taking pictures of the actresses and not the cars. Says Enzo to the assembled press: “When we win, I can’t see my ass for starlets’ asses. When we lose, you’re a lynch mob.”
Other famous folk routinely frequented the Ferrari showroom. Roberto Rossellini and Ingrid Bergman are mentioned by the real-life son of Ferrari as frequent regular customers. Prince Bernard of the Netherlands was also a recurring customer and a close friend of Ferrari during life. Neither of these real-life facts makes it into the film, but the completely fabricated autograph request from Enzo’s young son does, repeatedly, even though it never happened (according to the now-grown younger son.)
THE BAD
“Ferrari” the film is dead on arrival. Most of the audience probably does not know the history of the Mile Maglia race. Whether they care is also up for debate. It is not made very clear that the accident that creates the film’s most spectacular (and very gory) scene means that the race will never be held again. The many Italian characters and race-car driver names come and go without much impact; they are difficult to remember and/or understand and none has much of a part.
Shailene Woodley as Lina Lardi. (Photo Credit: Lorenzo Sisti).
I’m still wondering what Shailene Woodley’s ethnicity is supposed to be, since she does not seem very Italian. Was Lina Lardi a local girl? Why is she so passive about Enzo’s dragging his feet on acknowledging her and, more importantly, acknowledging their son Piero (who now runs thecompany). Lina is definitely a constant presence in Enzo Ferrari’s life. After wife Laura’s death in 1979, the elder Ferrari could finally publicly acknowledge his surviving son. The couple were together until Ferrari’s death in 1988 at the age of 90. However, Enzo’s reputation as a philanderer was well-established before his first wife Laura learned about it.
Most of the audience probably doesn’t have the depth of knowledge about or interest in the Ferrari dynasty that Director Michael Mann has had for years. Somehow, the director needed to be able to convey this extensive information to the audience quickly and intelligibly. That doesn’t happen here. Many questions linger and the parade of various drivers (Jack O’Connell and Patrick Dempseyamong them) that are mentioned and paraded out like pawns in a chess game get very little that makes any of them come to life, with the possible exception of the doomed Alfonso de Portago. (Gabriel Leone) who does get a racy bedroom scene with his girlfriend Linda Christian.
While the love triangle involving Enzo Ferrari’s two families is interesting, it doesn’t come off as very true-to-life. Real women put in the position of this secret love triangle might not be as reasonable nor as calm as Lina and Laura seem most of the time. The plot also conveniently fails to mention the numerous other women in Ferrari’s life.
CONCLUSION
Adam Driver conferring with Director Michael Mann on “Ferrari.” (Photo Credit by Lorenzo Sisti).
“We all know it is our deadly passion, a terrible joy.” (Line from the script).
If racing is your passion, you will enjoy this 2 hour and 10 minute film. The crash is great (ifgory, be warned), and the examination of Ferrari’s love triangle, while unrealistic IRL, gives us knowledge about the man. But, overall, this time at bat was not a home run for Michael Mann, the esteemed four-time Oscar-nominated director.
Ridley Scott’s 238 minute opus, “Napoleon,” is a crash course in French history. But how accurate is it?
I always appreciate directors who try to “get it right.” I kept wondering, throughout the lengthy film, whether this or that really happened. Let me be clear right now that I have investigated with the goal of finding out whether the film is substantially true or false. Read no further if you are saving the viewing of the film to learn the specifics of the plot.
THE GOOD
The costumes are wonderful—even the tri-cornered hat that Napoleon wears. By the way, the actual height of Napoleon was five feet seven inches, which was not that short for the time.
The staging of the battles is amazing. There are many battles and they are all extremely well-done and riveting.
Most of the acting is fine, although the dialogue is often jejeune (to steal a French phrase, which seems appropriate).
THE BAD
The things I know to be false:
Napoleon was not present in the crowd that witnessed the beheading of Marie Antoinette.
Napoleon never met with the Duke of Wellington on a boat (the Bellerephon)
The time-line for Napoleon’s marriage to Josephine is not exactly right
Napoleon may well have been completely besotted with Josephine, but each of them had other affairs and Napoleon had several illegitimate children. Did newspaper headlines of the day say things like, “Napoleon’s Bony Old Bird Caught Out of the Nest Again”? Don’t know; can’t tell you.
One child that the movie dwells on is the heir apparent that Napoleon divorces Josephine to have with his wife, Mary Louise, the Arch Duchess of Austria, and great-niece of Marie Antoinette. We never see the child after Napoleon shows the newborn to Josephine in one scene, but the answer to “Whatever happened to Napoleon’s son?” Wikipedia tells us this:
“Napoleon and Marie Louise remained married until his death, though she did not join him in exile on Elba and thereafter never saw her husband again. The couple had one child, Napoleon Francis Joseph Charles (1811–1832), known from birth as the King of Rome. He became Napoleon II in 1814 and reigned for only a fortnight. He was awarded the title the Duke of Reichstadt in 1818. He died of tuberculosis at the age of 21, with no heirs.”
You might wonder, as I did, whether the highly cinematic battle of Austerlitz (Aug. 2, 1805) involving cannons breaking the ice on which the advancing army is approaching, killing them in vivid visual style, really happened that way. The answer is yes, there was a battle where the approaching army approached on ice; however, the ice was evident to both sides. When an investigation of the body of water took place years later, there were only roughly 12 bodies buried beneath the surface.
Napoleon did not fire a cannon into a pyramid while in Egypt.
THE MEDIOCRE
To me, the worst thing about the film was the script, written by David Scarpa. The laughter of the audience, hearing some of the pot-boiler lines in this film, may be intentional. I found it jarring in the context of this epic.
Here are a few of those lines:
Napoleon: (about the British, spoken very petulantly): “You think you’re so great because you have boats!”
This was shouted with a childish tone, indicating that Napoleon was very annoyed by the British Navy. It may not be totally fair to blame the screenwriter, as one of the reasons it came off as humorous was the manner in which it was delivered. For that matter, the scene where Napoleon is shown stomping his foot like a horse in anticipation of sex with Josephine (who is reluctant because she has just had her hairdone). I’m being generous in calling it mediocre; it’s pretty bad.
Another such line, spoken by Rupert Everett as the Duke of Wellington, before he rides off to battle in the rain: “I never get wet if I can help it.” O……K…..
Just prior to uttering that line, we see Napoleon getting ready to lead his troops into battle. When he is asked, “What shall I tell the men? He responds, “Tell them to make the rain stop.”
During one state dinner, Napoleon shouts, “Destiny has brought me this lambchop.”
Yikes.
Again, the delivery of these bon mots is also part of the problem. While there were some lines that sounded as though they might have been spoken by Napoleon or taken from his letters and writing), there were way too many that were laughably bad.
The acting by Joaquin Phoenix and Vanessa Kirby was adequate, but they were given lines like the above examples. I don’t see any acting nominations coming out of this one, but she (Vanessa Kirby) was better than he was.
The music also good at times and mediocre at times. When Napoleon mounts up and rides forth as the Prussians have arrived, the music was weird. It was inconsistent throughout, just as Joaquin’s acting is only as good as the lines he is given to say.
Here’s a line that does try to give us insight into the character of the one-time Emperor of France: ”The most difficult thing in life is accepting the failures of others.”
THE VERDICT
I enjoyed the film from 85-year-old Ridley Scott and was amazed at his staging of the battles. What an accomplishment! May he stage many more!
[I also noticed that the Stunt Department Coordinator was Natalie Wood. No. Not THAT Natalie Wood, but if only she were still alive and still with us.]
I think my two favorite discoveries were “Dream Sequential” and “Poor Things” because they were so extraordinarily original (and off-the-wall.)
