Tag Archives: Colin Farrell

245. THE LOBSTER (2015)

“How do you even act in something like this? It was so bizarre. There’s no human reference that I know of to go, ‘Oh, I remember when something like that happened to me before.’ It’s so out there.”–Colin Farrel on acting in The Lobster

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DIRECTED BY:

FEATURING: , , Léa Seydoux, , Ben Whishah, , Olivia Colman, Garry Mountaine, Jessica Barden,

PLOT: In a future dystopia, every adult must be in a mandatory romantic relationship or they are sent to a state-run hotel to find a mate within 45 days, to be turned into an animal of their choice if they fail. David is a short-sighted architect whose wife leaves him for another man, necessitating his visit to the hotel with his dog (formerly brother) Bob. He tries to find a legitimate match, pretend to fall in love with another resident, or failing either of those options, to escape to the forest where a small band of renegade singles live.

Still from The Lobster (2015)

BACKGROUND:

  • This is Greek Giorgos Lanthimos’s first English language feature film.
  • Writer Efthymis Filippou has co-written Giorgos Lanthimos’s last three features (the other two are the Certified Weird Dogtooth and Alps), and actress Aggeliki Papoulia has had a prominent role in each.
  • The Lobster won the Jury Prize (essentially, third place) at Cannes in 2015 (Jacques Audiard’s Dheepan won the Palme D’or, while the holocaust drama and future Academy Award winner Son of Saul took the Grand Prix).

INDELIBLE IMAGE: This is a tough one, because—the beautiful photography of the County Kerry countryside and the classical elegance of the Parknasilla Resort notwithstanding—The Lobster‘s bizarre situations and crazy concepts hit harder than its imagery does. I considered the scene where the woman shoots a donkey in a field, or a subtle scene where the Loner Leader and the Maid are sitting in the forest and a two-humped camel casually saunters by in the background. Ultimately, I chose David and short-sighted woman’s wildly inappropriate makeout scene, which supplies one of this very drily hilarious movie’s biggest belly laughs.

THREE WEIRD THINGS: Donkey assassination; Heimlich theater; psychopath trial relationship

WHAT MAKES IT WEIRD: The Lobster is Giorgos Lanthimos’s idea of a romantic comedy: a cruel farce with bizarre but relentlessly consistent logic, enacted by a cast who show no emotions. Really, it’s more of a romantic horror/comedy. The style represents one of my favorite types of weird movies: one that takes the world we know, changes one or two of the basic rules, and then runs all the way with its premise to a bizarre conclusion dictated by its world’s rejigged logic.


Original trailer for The Lobster

COMMENTS: The Hotel Manager praises David when he explains Continue reading 245. THE LOBSTER (2015)

CAPSULE: ONDINE (2009)

DIRECTED BY: Neil Jordan

FEATURING: Colin Farrell, Alicja Bachleda, Alison Barry, Stephen Rea

PLOT: An Irish fisherman scoops up a girl in his nets one day; is she actually a selkie?

Still from Ondine (2009)

WHY IT WON’T MAKE THE LIST:  It’s not weird (that’s not a spoiler; weird is an aesthetic choice, and the movie might not be weird even if Ondine is a selkie).

COMMENTS:  Neil Jordan has gone weird from time to time (The Company of Wolves, The Butcher Boy), but even when he’s not being totally bizarre he’s often at least provocative (The Crying Game).  It’s therefore strange to see him helm a movie that plays it so safe, that aims so squarely at a middlebrow arthouse crowd who only ask for picture postcard vistas and enough painfully dramatic soul-searching to make the happy ending seem well-earned.  Starting with the myth of the woman from the sea who falls in love with a mortal man, Ondine breathes in magic, but exhales mere quality.  The cinematography by Christopher Doyle captures the quaint beauty of an Irish fishing village and the majesty of the surrounding ocean (often shot on overcast days so that the sky and the sea share a uniform blue-gray tint).  Performances by the principals are also top notch.  As Syracuse, the on-the-wagon alcoholic subsistence fisherman with a sickly daughter, Colin Farrell projects ancient guilt and sadness: this bedraggled, sad-eyed ex-rake never looks more at home than when he’s in a confessional.  Polish beauty Alicja Bachleda has an otherworldly sensuality that serves her character well; she goes swimming in sun dresses, then lounges in the sun like a seal with the wet clothes clinging to her.  Young Alison Barry does fine in a role we’ve seen many times before: the sad outcast kid whose belief in magic teaches the adults in her life a thing or two about the power of hope.  As for the script, in its mechanics, it’s hard to criticize (though I would have killed off a different character).  Jordan’s writing provides proper character depth and ties up loose ends cleverly.  The film’s overall narrative strategy, on the other hand, isn’t as easy to cozy up to.  It starts as a slow but pleasant drama with the ambiguity about Ondine’s true nature driving the tale, then wanders around in some melodramatic side alleys before resolving itself with a thriller conclusion that drains the magic out of the film.  The film also has a technical issue: for Americans, at least, the dialogue can be hard to make out due to the authentic Irish brogues and low conversational sound levels.  Stephen Rea, in particular, is indecipherable when he hushes his voice; I couldn’t turn the sound up loud enough to make out what he was saying.  Overall, it’s easy to see how someone could be briefly charmed by Ondine, but it’s hard to imagine even the most romantic soul being enchanted by it.  It’s more of a movie to flirt with than to take home to bed.  It seems like the kind of classical, meditative, risk-free story older filmmakers tackle when they want to make sure they are being taken seriously as artists—but it’s that very self-seriousness that makes what emerges a minor work.

“Ondine” was a 1939 play by Jean Giraudoux about a water nymph who falls in love with a knight.  Tales of women from the sea falling in love with mortal men are a common motif in fairy tales.  The film Ondine adapts Celtic folklore about the selkie, a seal who can shed her skin to become a beautiful female and mate with mortal men.  The same legend formed the basis of John Sayles’ 1994 independent arthouse hit The Secret of Roan Innish.

WHAT THE CRITICS SAY:

“…works best when it stays within the blurry in-between space separating the everyday world from that belonging to story-time flights of fancy.”–Manhola Dargis, The New York Times (contemporaneous)

RECOMMENDED AS WEIRD: THE IMAGINARIUM OF DOCTOR PARNASSUS (2009)

DIRECTED BY: Terry Gilliam

FEATURING: Heath Ledger, Christopher Plummer, Lily Cole, Tom Waits, Colin Farrell, Johnny Depp,

PLOT: A 1000 year-old mystic enlists the help of a seedy amnesiac to save his daughter, whose life he exchanged for eternal youth, from the clutches of the Devil.


WHY IT SHOULD MAKE THE LIST: The Imaginarium of Doctor Parnassus is a return to extreme fantasy for Terry Gilliam, who hasn’t delved so deep into the realm of untethered imagination since The Adventures of Baron Muchausen.  It is a madcap vaudevillian escapade that is anything but ordinary, a rekindling of the fires of whimsy in modern cinema that has not been lit in some time.  Gilliam conjures a tale that comes from the divine and the pedestrian, fills it with colorful, albeit thin, characters, and lets the magic happen as the elements coalesce into a Victorian sideshow of epic proportions.

COMMENTS: Set over a thousand years of the titular character’s life (although it’s mostly set in modern day England), The Imaginarium of Doctor Parnassus is a fantastical meditation on choices: good ones, bad ones, the weight-laden overabundance of decisions we all face at some point, and the demeaning lack of options we also experience.  From literal metaphors involving people choosing their destinies in a realm of imagination to the figurative posturings of the opposition between that which is right and that which is merely easy, director Terry Gilliam muses with this film on the ages-old dilemma of free will and how these characters will go about using it.

But forget about that!  What everyone wants to know is how well they shoe-horned in all of Heath Ledger’s stand-ins during post-production!  As you’re well aware, I’m sure, this is the final performance of the late, great Heath Ledger.  Mr. Ledger died during the production of this feature, leaving his role, that of the amnesiac Tony, woefully incomplete.  Gilliam, being ever the professional, and no stranger to ill circumstances Continue reading RECOMMENDED AS WEIRD: THE IMAGINARIUM OF DOCTOR PARNASSUS (2009)