Tag Archives: Charlie Kaufman

CAPSULE: HUMAN NATURE (2001)

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DIRECTED BY:

FEATURING: , , , Miranda Otto

PLOT: A scientist and a woman cursed with hirsuitism discover a feral man living in the woods and train him to live in civilized society.

Still from Human Nature (2001)

COMMENTS: Human Nature feels a bit like—and was certainly interpreted by contemporaneous critics as—an unpublished script that was dusted off and polished up to capitalize on the unexpected success of Being John Malkovich (1999). In fact, the script had originally been optioned way back in 1996, when it was circulating together with Malkovich, although it’s not clear which screenplay Kaufman completed first. After his 1999 hit, passed on directing Human Nature; he served as a producer instead, and recommended the already-established music video/commercial director Michel Gondry for the job.

That partnership was also destined to bear fruit in the future, but the team did not immediately meet with success. Human Nature didn’t live up to its immediate predecessor in either the originality of its premise or in its bizarre humor; critics who loved the first movie were generally disappointed, while those who never bought in to Kaufman in the first place relished the opportunity to proclaim that the newly crowned Emperor had scanty clothing. Twenty years later, seen outside of Malkovich‘s immediate shadow, Human Nature looks much better: smart, easy to watch, and wispily Freudian in its depiction of sexual conflict between the superego and id.

Human Nature begins by divulging its three main characters’ eventual fates: Lila is imprisoned, Puff is testifying before a Congressional subcommittee, and Nathan has a conspicuous hole in his head. Flashbacks explain how we got here: Lila, cursed with simian body hair, becomes a famous nature writer but decides she needs a man and so undergoes extensive electrolysis before being introduced to Nathan, an inhibited prude of a psychologist who’s work involves using electrical shocks to train lab rats to use the correct salad fork. They form a desperate, co-dependent relationship until discovering a feral man (later dubbed “Puff”) in the woods, whom Nathan decides would make an even better test subject for his behavioral modification studies than the mice—unlike rodents, he can train the ape man to read “Moby Dick” and discuss Wittgenstein, and to refrain from humping every woman he comes across. Predictably, things go awry, with everything further confused when various competing romantic axes and rivalries start to develop between this threesome and Nathan’s assistant, Gabrielle.

Quirky highlights include an incongruous, Disneyesque strolling-through-nature song where Lila embraces her hairiness (“my new friends, these split-ends…”); early whimsical “Gondryeqsque” sequences of white mice seated at a dinner table (done with a combination of puppetry, stop-motion, and trained animals); and Gabrielle’s contextually inexplicable accent. These bits combine with the oddness of the comic scenario and the movie’s arch approach to sexual repression to create an intelligent and off-key chamber piece effectively poking fun at our civilized foibles (“apes don’t assassinate their Presidents, gentlemen!”), while falling well short of the existential weirdness of Kaufman’s debut. By conventional Hollywood standards, Human Nature is fairly odd; by Gondry/Kaufman standards, it’s an attempt at a completely mainstream movie.

WHAT THE CRITICS SAY:

“Written by Charlie Kaufman (BEING JOHN MALKOVICH), this superficially surreal film is in fact a surprisingly straightforward fable… overall the film feels forced and awkward, as though it’s trying too hard to be weird, culty and profound..”–Maitland McDonagh, TV Guide

(This movie was nominated for review by Nick Gatsby, who said it was “perfect for this list. I’m deathly surprised it’s not on here already.” Suggest a weird movie of your own here.)

APOCRYPHA CANDIDATE: I’M THINKING OF ENDING THINGS (2020)

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DIRECTED BY:

FEATURING: , Jesse Plemons, , , Guy Boyd

PLOT: A young woman goes on a trip to meet her new boyfriend’s parents at their farmhouse on a night when a blizzard is brewing; the night grows increasingly strange and unsettling as it becomes unclear what is real and what is imaginary.

Still from I'm Thinking of Ending Things
I’m Thinking of Ending Things. Guy Boyd as Janitor in I’m Thinking of Ending Things. Cr. Mary Cybulski/NETFLIX © 2020

WHY IT MIGHT JOIN THE APOCRYPHA: By the time the pig shows up at Jake’s old high school, it becomes apparent that this maze of awkward interactions, faulty memories, and uncertain identities may just be Charlie Kaufman’s most surreal film.

COMMENTS: The first inkling that something is not quite right in I’m Thinking of Ending Things comes when the young woman (who is first introduced as “Lucy,” although it turns out that may not be her real name) thinks to herself, “I’m thinking of ending things.” “Huh?,” says Jake (that is his real name), from the driver’s seat. Can he hear her thoughts? She denies speaking. “Weird,” says Jake. “Yeah,” she answers.

Things will get weirder. She’s unsure why she wants to break up with him. Her backstory doesn’t add up. And she’s getting a lot of phone calls, which she’s not answering. When they arrive to meet Jake’s parents at their remote farmhouse, things get even stranger. As it turns out, Jake’s parents would creep out Henry Spencer‘s in-laws. Dinner is uncomfortable, full of small talk that often sounds like hidden accusations, and—once more—competing backstories that contradict each other. Jake’s parents age, almost before her eyes… Nothing explicitly supernatural or menacing happens, but the creaky farmhouse emanates a horror movie vibe, intensified by Jake’s passive-aggressive insistence that his girlfriend stay out of the basement. Meanwhile, Lucy—or whatever her name is—anxiously suggests that Jake take her home before the coming blizzard snows them in and traps her there.

Charlie Kaufman‘s latest mind-massager is another intensely subjective and literate tour of the lonely corridors of the mind, where nothing is as it seems. It’s one of his strangest offerings— particularly when it reaches an irrational finale that departs from the source novel—but perhaps what distinguishes it the most is the exceptional ensemble acting, best seen in the four-way sparring at the dinner table. Their expressions are priceless: Collette smiling to herself at private jokes only she can hear, Thewlis aggressively incredulous at the idea that a landscape could appear sad, Plemmons understandably embarrassed by his parent’s odd behavior, and trying to coax his girlfriend into revealing the correct details about how they met. We expect accomplished performances from those three celebrated actors, but relative newcomer Jessie Buckley is a revelation. She mutates throughout the film, portraying everything from a nervous recalcitrant girlfriend to an angry feminist to an apparent victim of very early-onset Alzheimer’s. She even slips into a Pauline Kael impression. Remarkable.

As with all the best trips, it’s the journey that’s most memorable, not the destination. There is a reveal at the end, but the twist, while satisfying, is hardly the point. Each scene is structured as an individually confounding moment: on the long ride there and back, Jake and his girlfriend discuss everything from the human experience of time, bad movies as viruses, with citations to Wordsworth, David Foster Wallace, Guy Debord, and musical theater (familiarity with “Oklahoma!” will enrich your experience). Jake says he like road trips because “it’s good to remind yourself that the world’s larger than the inside of your own head”—but does the movie believe this thesis? As they travel, the couple learn less about each other, and more about the slipperiness of human memory, fantasy, and identity.  It’s Kaufman’s favorite theme: the loneliness of our inherent interiority. The paradox is that our inescapable subjectivity is the one thing we all share and bond over.

WHAT THE CRITICS SAY:

“If that sounds confusing, or even downright hostile to the audience, well, that describes the Charlie Kaufman experience… There’s a weird thrill to getting lost inside this movie, only so you can study every odd detail from new angles, over and over again.”–David Sims, The Atlantic (contemporaneous)

CAPSULE: CONFESSIONS OF A DANGEROUS MIND (2002)

DIRECTED BY: George Clooney

FEATURING: , , George Clooney,  Julia Roberts

PLOT: Chuck Barris is a producer of game shows by day and a free-lance CIA agent by night; the successes and failures of his parallel careers are remarkably in-step with one another.

Still from Confessions of a Dangerous Mind (2002)

WHY IT WON’T MAKE THE LIST: With as screen-writer and television’s slimiest visionary as the subject matter, we might have been on course for a nomination. However, director George Clooney grounds Confessions of a Dangerous Mind as conventional, hip Hollywood fare, embellished with some creative window dressing.

COMMENTS: An unlikeable protagonist, an unbelievable premise, and an odd fixation with montages add up to a dark and breezy viewing experience in George Clooney’s Confessions of a Dangerous Mind. In his directorial debut, Clooney artfully weaves a tale of Cold War intrigue, mental collapse, and really, really bad television programming. Screen-writer Charlie Kaufman’s fingerprints coat Confessions, but while self-examination-through-self-debasement oozes throughout it is simultaneously an odd character study as well as a Hollywood thriller. Chuck Barris strikes us as a skeezy guy doing the CIA’s skeezy work.

Lustful from the age of eleven, Chuck Barris (Sam Rockwell) crashes through his youth horny and bitter. Wanting nothing more than to score with women, he is adrift in life, failing at his job as a minor, minor television executive. His fortunes change when he encounters Jim Byrd (George Clooney), a CIA recruiter who wants to take Chuck on as a freelance agent. After his run in with this shady emissary, Chuck’s life in the Biz immediately turns around: his “Dating Game” pilot is picked up, and his career rockets to a grimy pinnacle of debased pop success. Taking his longtime lover and friend Penny (Drew Barrymore) for granted, he dallies with classically educated, icily erotic fellow contractor Patricia Wilson (Julia Roberts). Chuck’s TV ratings begin to slide at the same time his CIA career takes a dangerous, deadly turn.

Confessions‘ budget hovers just below the thirty-million-dollar mark, but considering the actors involved, Clooney makes that outlay look altogether frugal. To accommodate, he uses a lot of novel sets to  create an illusion of grandeur, some deal-making with his fellow heavy-hitters (Julia Roberts, for instance, agreed to work for a mere $250,000), and plenty of vintage television footage. Beyond that there are the montages. In fact, the whole thing feels like a montage of montages: a montage of Barris’ rise, a montage of Barris’ CIA training, a montage of Barris’ conquests, a montage of… you get the picture. With Confessions, the point where flashback montage and current montage meet is blurred by further montage.

Perhaps it’s appropriate. Chuck Barris is constantly running just to stay in place as Sam Rockwell’s sickly charm carries the character through all the depressing motions, showcasing someone that we cannot help but loathe while simultaneously rooting for. After the suicide of an assassin buddy, he refers to him as a “stagehand.” That description is strangely apt: Barris and his cohorts were the kinds of guys that constantly lurked around the periphery, making sure the show went on without others’ awareness. Confessions of a Dangerous Mind acts as a eulogy for these men and women. All those spooks and hitmen were at heart ordinary people trapped in the giant reality show of the Cold War. And though heavily laden with regret and contemptuousness, this darkly comic biopic shows the tenderness and humanity of history’s dirtbags.

WHAT THE CRITICS SAY:

“The whole is less than the sum of its parts: the dueling Kaufman and Barris takes on self-flagellation don’t exactly mesh. This film, a shape-shifting apologia-biopic as weird as Adaptation, is too cold for its own good.” –Elvis Mitchell, the New York Times (contemporaneous)

225. ADAPTATION. (2002)

CHARLIE KAUFMAN: I’ve written myself into my screenplay.

DONALD KAUFMAN: That’s kind of weird, huh?

Adaptation.

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DIRECTED BY:

FEATURING: , , Chris Cooper, Brian Cox

PLOT: Screenwriter , fresh off the hit Being John Malkovich, is contractually and mentally trapped as he is forced to plow his way through an impossible project: “writing a movie about flowers.” Things go from bleak to bizarre as he finds himself competing with his endearingly oblivious twin brother, Donald, who also aspires to be a screenwriter. Charlie slips further and further past the deadline, until things come to a head in the film’s swampy denouement where he comes face-to-face with both the writer of and titular character from “The Orchid Thief,” the book he is adapting for the screen.

Still from Adaptation. (2002)

BACKGROUND:

  • The screenplay for Adaptation. was on Charlie Kaufman’s to-do list since the late ’90s. Tasked with adapting Susan Orlean’s novel-length essay “The Orchid Thief” and suffering the same problems as his doppelganger, he kept his progress secret from everyone other than Spike Jonze until 2000, when the movie was green-lit for production.
  • Screenwriting guru Robert McKee and his seminars are real. He personally suggested Brian Cox play him in the movie.
  • Adaptation. handily recouped the producers’ investment, with a return of $32.8 million worldwide on a $19 million outlay.
  • Nominated for four Oscars: best actor for Cage, supporting actor for Cooper, supporting actress for Streep, and adapted screenplay for Charlie and Donald Kaufman. Cooper was the only winner.
  • Though “Donald” Kaufman’s serial killer script The 3 was never shot, the idea may have inspired two subsequent movies, 2003’s Identity and 2006’s Thr3e.

INDELIBLE IMAGE: Returning from a misfired date, Charlie finds his twin brother already back home from a writer’s seminar, brimming over with newly adopted wisdom. As Charlie stands in front of his hallway mirror, Donald’s face is captured in the reflection as he expounds upon his own screenplay’s “image system” involving broken mirrors. Charlie’s expression goes from dour to disbelieving at this inanity, and the viewer sees the movie mock both itself and screenplay tricks. A further twist is added by the fact that the blurry reflection in the mirror is the face of the actual Charlie Kaufman talking to Nicolas Cage.

THREE WEIRD THINGS: Film-within-a-film-within-a-screenplay-within-a-screenplay ; Ouroboros; orchid-snorting

WHAT MAKES IT WEIRD: For all its unconventionality, Adaptation is amazingly self-deprecating. Spoilers unravel in opening scenes and are tossed aside, coastal city elites are presented as real people with the petty little problems real people have, and Nicolas Cage gains a bit of weight and loses a bit of hair to provide the compelling double performance as the Kaufman brothers. Events seem scattershot, only to have their purposes later clarified as the tightly structured flow keeps the viewer jumping from moment to moment, always questioning which parts of this convoluted tale are actually true.

COMMENTS: Between its thorough description of the protagonist Continue reading 225. ADAPTATION. (2002)

CAPSULE: ANOMALISA (2015)

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DIRECTED BY: ,

FEATURING: Voices of , ,

PLOT: A motivational speaker attending a business conference is dissatisfied with his humdrum existence, until he meets a seemingly average woman who, to him, is different than everyone else in his life.

01ANOMALISA2-facebookJumbo

WHY IT WON’T MAKE THE LIST: While many of Charlie Kaufman’s films are shoo-ins for any list of weird movies, Anomalisa is comparatively straightforward. The weird factor is there, but limited, with most of the film focusing on small details of human interaction.

COMMENTS: Michael Stone (voiced by David Thewlis) is a renowned expert in customer service, middle-aged and settled in, married with a young son, but his apparent career and familial success have not brought him happiness. He feels isolated from those around him, exemplified by their voices, which all sound the same. He reconnects with an old flame who lives in the city where he’s staying for a conference, but their meeting only leads to further estrangement. Michael’s hopelessness is finally lifted when he hears Lisa (voiced by Jennifer Jason Leigh), a shy, self-conscious sales representative attending the conference. Her voice is distinct, and thus she is distinct, and he immediately falls for her simply for her difference. They spend the night together and Michael hopes to begin a new life with her, but their connection is not as solid as he thinks.

Animated in an incredibly detailed stop-motion style with 3D-printed figures, Anomalisa is a film that opens itself up gradually, reveling in small tics and awkward moments and everything left unsaid. Whether intentionally or inadvertently, Michael has cut himself off emotionally from everyone around him, keeping his headphones in as he walks through the airport, unwillingly engaging in small talk with his cab driver, and acting uncertain around the polite staff of his hotel. His few attempts at connection are somewhat awkward and ill-conceived, most noticeable in how he sputters his way through a drink with a former girlfriend, whom he left for no stated reason, who is still getting over the loss of him, and still questioning herself because of it. Though he seems rueful, Michael is unable to explain himself, and they leave one another disappointed. Later, he finds a “toy” store that’s open late, looking for a gift for his son but eventually realizing this shop has more adult fare. He ends up purchasing a mechanical Japanese doll shaped like a geisha, perhaps an unconscious stand-in for the multiple women he no longer loves, preferring a robotic replacement for their human inadequacies. That Michael’s professional life is centered around customer service expertise is a blatant irony, but that knowledge allows viewers to see how he must put on an act when he is with other people, much like the sales representatives he advises. He must play at being a warm, sociable human being, despite hating the sound of every voice he hears, even with his wife and son. With Lisa, he can stop acting, and Continue reading CAPSULE: ANOMALISA (2015)