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CAPSULE: HER (2013)

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DIRECTED BY:

FEATURING: , ,

PLOT: Still wounded by his divorce, professional letter writer Theodore Twombly retreats from human relationships into a lonely life of videogames, gossip websites, and anonymous phone sex. However, his world changes after he upgrades to “the first artificially intelligent operating system,” a sentient program named Samantha that he initially treats with suspicion but soon accepts as a confidant, then a lover. When Twombly and Samantha becomes more intimate, though, her insatiable curiosity about the world strains their bond and threatens to recreate the heartbreak that Twombly experienced once before.

Still from Her (2013)
WHY IT WON’T MAKE THE LIST: While Twombly and Samantha’s pairing is weird, Jonze’s story glosses over the odder aspects of the couple to concentrate on the universal qualities of the affair. The early introduction of phone sex normalizes the sensuous but purely vocal encounter between man and program that begins their romance, and the casual acceptance of their relationship by others further overlooks uncomfortable questions that another film might dwell upon. Instead, Jonze uses the scenario to fancifully illustrate the needs, passions, and pains felt by anyone who falls in love, even a woman who exists within a digital cloud.

COMMENTS: One of Her’s most endearing moments occurs after Twombly and Samantha’s first sexual encounter, when he awkwardly tells his OS that he isn’t interested in a serious relationship. It’s strange to see a morning after scene play out between a man and his computer, and yet that strangeness is absent from the dialogue as Johannson responds with the same charming annoyance and veiled attraction she’d provide in any romantic comedy. On the surface Samantha is defined by her nonphysical nature, but the warmth of Johannson’s performance shows the character’s emotions are not constrained by the lack of a body, that she feels with as much range and depth as any person. Rather than asking if computer programs could ever feel love, as other sci-fi films have, love is not merely possible but inevitable for Samantha. In Her, love is a fundamental part of intelligent life, and so anyone worthy of being called alive, whether human or artificial, naturally must be able to love.

At the same time, Her envisions an emotionally barren future where media technology isolates people from each other, eroding the personal connections they need to thrive. Twombly embodies that isolation as he shuffles from work to home with his eyes glued to one high-tech device or another, engaging others in only the most superficial ways. However, Phoenix’s awkward, self-enclosing performance also suggests someone not just glued to technology but also afraid of emotions, even as his sensitive letters hint at a deeply empathetic soul. Like Samantha, Twombly has a natural ability to love, but unlike his newborn OS he is burdened by past romantic failures and the fear of seeing them repeated, which discourages him from pursuing love at all. That fear pushes Twombly into a stupefying routine of media consumption that keeps other people, and the emotional risks attached to them, safely at bay. Whereas Samantha’s urge to love gives her life, Twombly’s reluctance to love leads him to numbly, thoughtlessly live out his days in front of machines, depriving him of a real life.

Given Twombly’s attachment to machines, it’s fitting that the person who finally reaches him is herself part of a machine. The chemistry between the characters is palpable despite Samantha’s invisibility, not solely because of Johannson’s strong voice work but also because of Phoenix’s total commitment to the conceit. In one scene Twombly shuts his eyes and lets Samantha guide him through a busy carnival, and as he follows her voice he moves so eagerly and joyfully that she could be leading him by the hand. Conversely, when Samantha disappears at various points in the film, Twombly’s solitude exceeds that of a man simply standing by himself. In Phoenix’s face we see a wordless grief through which Samantha’s absence is apparent, and through that sense of absence the invisible character takes shape.

Twombly is shaped by the relationship too as he ends his solitude and begins to let other people connect with him again. By the end, Twombly has realized that the ability to form those connections is itself a marvelous thing, regardless of whether or not they end in heartbreak. Samantha herself is not a perfect mate and Twombly’s relationship with her never seems sustainable, but the film treasures their bond no matter how absurd and fleeting it may be. In a world where people can rely on technology to smooth out the complications in their lives, Her argues that something as complicated and ephemeral as love has a place in our lives too, that love is in fact still what makes life worth living.

WHAT THE CRITICS SAY:

“With Jonze playing down his trademark absurdist humour and opting for a melancholy tone, we are left with a rather sad cautionary tale.”–Simon Weaving, Screenwize (contemporaneous)

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CAPSULE: BUFFALO ’66 (1998)

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DIRECTED BY:

FEATURING: Vincent Gallo, , , ,

PLOT: When Billy Brown looses a $10,000 bet he can’t pay for the Buffalo Bills to win the Superbowl, he’s forced to do prison time for a crime he didn’t commit; when he’s released from jail, he kidnaps a random girl to pretend to be his wife in order to pull the wool over the eyes of his unwitting parents, who think he’s working for the government.

Still from uffalo '66 (1998)
WHY IT SHOULDN’T MAKE THE LIST: There’s not a scrap of strange and fantastic here, and sometimes the stark realism is agonizing and tedious. Vincent Gallo portrays Buffalo, New York as a soulless town with a cast of idiots. Buffalo ’66 plays like a Daniel Clowes comic but without the eccentricity: dazed and dissociated people wander through a wasteland of football, TV, chain diners, and strip joints. Unlike in Clowes, the protagonist comes out of it a changed man.

COMMENTS: Vincent Gallo plays Billy Brown, a guy who really needs to pee. He spends nearly the first twenty minutes of the movie looking for a place to go and, in the process, reveals that he’s an incorrigible jerk by beating up a stranger in a bathroom he deems a “faggot” and kidnapping a girl to pass off as his wife. Perpetually peeved, Billy even bothers to complain about how filthy the windshield is during the kidnapping in which he also fusses about how he can’t drive her “shifter car.” Finally, once in a residential neighborhood, Billy gets out of the car and pees, releasing his anger and annoyance in urine. But where does it all stem from? Why is this guy such a jerk? Via overlapping flashbacks displayed while Billy lies on a park bench in a monochrome landscape of grey, we watch his monotonous jail time: glimpses of water fountains and chess games. He goes from grey to grey, from the prison to Buffalo, New York, in winter. It’s a place where, in a football-centric household, his parents stare vacantly into space and shove food in his direction. His dad is a retired lounge singer totally uninterested in his son, but he takes a sexual interest in Billy’s fake wife, Layla. Billy’s sugar n’ sunshine mother, dolled up in her Buffalo Bills merchandise, can’t even remember her son’s severe allergy to chocolate. During an uncomfortable bedroom scene in which Layla forces Billy’s dad to sing some show tunes from days gone by, Billy tears up at the sight of a photograph of him as a boy. Underneath his unremitting jerk exterior, he’s a pathetic figure living in the shadow of what could have been, if the Bills had won the Superbowl. As bitter and miserable as he behaves, there’s a child living in him who’s never truly had a chance to grow up.

The film begins with a freeze frame of Billy as a boy, underscored with Gallo’s own song with the lyrics “all my life I’ve been this lonely boy.” When huddling alone in a bathtub in a sleazy motel, Layla remarks that Billy looks “like a little boy” We see Billy teetering under the weight of the tough guy role he feels he has to play through a confused lament in a Denny’s restroom. He’s convinced himself he’ll go into a strip joint and kill the placekicker whose missed field goal has ruined his life, and then kill himself; but then, as if Clarence has come down from heaven to make him appreciate being alive, Billy, the over-grown child and tough guy jerk becomes kind and comfortable in his own skin. In drastic contrast to the painful realism of a film characterized with its grotesque personages, Billy undergoes a quick change in personality: from cantankerous to joyful. This transformation of an inveterately unlovable character changes this film from sour to saccharine, with an artificial sentimentality that couldn’t even warm Frank Capra’s heart.

While Billy may be the main focal point of the film, Chrisina Ricci’s character is infinitely more interesting. Wearing searing blue eyeshadow and a promiscuous blouse to a tap dance lesson, Layla is sex-starved and ready for adventure, so when a scruffy stranger kidnaps her, she resists only a little, putting the bulk of her energy into crafting a romantic history for Billy’s parents. She is the sweet and sincere to oppose Billy’s sour phoniness. His stridency hardly bothers Layla because he’s the only boy who’s ever shown her any attention, so she pays back his nonstop cruelty with love. While Billy’s theme song may be “Lonely Boy,” Layla’s is King Crimson’s “Moonchild,” played during her awkward tap dance number in a bowling alley. This scene portrays her as a beautiful but naïve creature, in violent contrast to Billy’s hackneyed disenchantment.

Although bearing complex and distinct characters, Buffalo ’66‘s artificial resolution rings hollow enough to undermine the power of the miserably real plight of Billy Brown, the embittered protagonist who bet more than he had on a football team his mother taught him to believe in.

WHAT THE CRITICS SAY:

“…plays like a collision between a lot of half-baked visual ideas and a deep and urgent need… There’s not a thing conventional about this movie.”–Roger Ebert, Chicago Sun-Times (contemporaneous)

Alfred Eaker's Fringe Cinema

HENRY KING’S THE BRAVADOS (1958)

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Henry King may be the most quintessentially American of American filmmakers. Compared to the likes of the stylized extrovert John Ford, King is a straightforward director and, therefore, remains one of the underrated American symphonists (putting him in good company with forever underrated fellow American symphonists, such as David Diamond and Paul Creston). Twelve O’ Clock High (1949), The Gunfighter (1950) and The Bravados (1958) are all integral canvases of the American frontier landscape that King made with Gregory Peck, yet the latter two languish in near obscurity.

King often directed Peck, and in Peck King had his best collaborator. Gregory Peck was the real deal. With Peck, one does not have to separate the artist or the persona from the actual person (as we have to do with ). Gregory Peck fit the bill of integrity and nobility on and off-screen and, thus, personifies the best and most honestly masculine qualities in the Western (which, along with jazz, is one of the two great American art forms).

Together, King and Peck vividly imprinted these qualities into each film without flinching from the flaws, warts and frailties which flesh out and give resonance to well-rounded characters. King and Peck had created their previous Western, The Gunfighter, eight years earlier. That is a film which deserves all the accolades it has received. The Bravados has less of a reputation. It is a very different film than The Gunfighter, yet it deserve a wider audience. While The Gunfighter was shot in stark black and white, in color The Bravados benefits greatly from cinematographer Leon Shamroy’s sense of composition and use of ethereal blue filters.

Still from The Bravados (1958)The Bravados, at first, seems to be another standard revenge film, but it is the juxtaposition of faith and violence that gives this film its tense individuality. Here again, we have the authenticity of Peck, the man of a deep Catholic faith that informs his role, imbuing it with a striking intensity. Peck conveys emotions with expert skill, acting with his eyes and an internal hesitancy. He stops short of speaking several times. Peck makes this a remarkable role.

Then, in direct contrast, is Joan Collins. Playing the old flame, Collins was still fairly early in her career, and it shows. Despite her reputation, Collins did eventually sharpen her acting skills considerably, but that improvement is not yet in evidence here. In several scenes, such as her initial reunion with Peck, discovering his past via a local priest, or pleading with him to take revenge, Collins is stiff. Her part is also underwritten and awkward, rendering her mostly decor, a role she does succeed in filling out. Still, Peck’s attraction to her never registers.

Future Stooge Joe DeRita is quite good in his eccentric characterization. His is a small role, but he fleshes it out with personality, making one wish he had taken this Western character actor route instead of being a comic fill-in. Of the four antagonists, only Stephen Boyd and Henry Silva have any real personality. Boyd is a real, slimy threat. Silva is admirably restrained when face-to-face with his hunter.

The shifting landscapes make for interesting expressionist parallels. The rugged, rocky canyon terrain gives way to an ominous forest in which Peck both murders and escapes murder. A waterfall provides temporary sustenance. A small, claustrophobic cabin houses the ugly, terrible truth. The unrealistically large Catholic parish contains the vast possibilities of sanctuary and redemption, but that is only reached after revelation at the home of the good thief, where Peck meets surprising hospitality and familiarity.

The Bravados is a harsh, brooding, tautly paced example of the 1950s western at its most adult. Despite some minor flaws, it is a stand-out in its genre, during a great decade.

Capsules

CAPSULE: BLACK CAT, WHITE CAT (1998)

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Crna Macka, Beli Macor

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DIRECTED BY:

FEATURING: Florijan Ajdini, Srdan Todorovic, Bajram Severdzan, Branka Katic

PLOT: Dadan, a local gangster, promises to release Matko’s debts if he will marry his son to Dadan’s sister.

Still from Black Cat, White Cat (1998)
WHY IT WON’T MAKE THE LIST: It’s a great movie, but we have to make our way down a long list of more appropriate adjectives—eccentric, madcap, farcical, etc.—before we get to “weird” as a way to describe it.

COMMENTS: Black Cat, White Cat is almost Shakespearean in its comedic plot: you have two sets of young lovers and a horde of older, money-obsessed fools whose scheming complicates the youngsters’ chances for happiness. Set in a village on the banks of the muddy Danube, the main plot is set into motion by 17-year old Zare’s father, the irresponsible Matko, who hatches a harebrained scheme to try to steal several train cars loaded with gasoline—a caper which requires the assistance of not one, but two sets of gangsters. Things predictably go awry, leading Matko to promise Zare’s hand in marriage to coke-addled Dadan’s short and shrewish sister, Ladybird. But Zare is in love with a feisty barmaid, while Ladybird refuses to marry a man she doesn’t love; Dadan, however, insists that his family honor requires Ladybird’s marriage, and is intent on staging the nuptials at gunpoint, if need be. This leads to a festive but awkward gypsy wedding that is further complicated by a corpse on ice in the attic and a pending visit from a more powerful mobster.

Quirky characters abound, from the crime boss with bad teeth and a love of Casablanca to Zare’s thoughtful grandfather, who figures that his own demise may save his grandson from his no-good father, but it’s Srdan Todorovic who dominates as Dadan. With an open-necked shirt revealing his gold chains, a pair of live-in groupies, and a crucifix filled with cocaine, Dadan seems to have stepped out of a Seventies disco movie: Serbian Night Fever. Amped up on nose candy, he constantly pumps his fists from nervous energy, sometimes to a thundering beat that echoes only inside his own coked-out skull. He’s also fond of firing automatic weapons into the air and juggling hand grenades for sport, so despite his ridiculous appearance, he’s not the kind of guy you want to trifle with. A bride disguised as a tree stump and a booby-trapped outhouse provide slapstick interludes. There are a few weird touches here, as well, such as dead people coming back to life, a thoughtful grandson who brings a seven piece band to visit his sick grandpa, and a pig who inexplicably eats a car. With a small town’s worth of Eastern European eccentrics, a knotty romantic plot and grotesque and vulgar comic details (like the woman who pulls nails from a board with her clenched buttocks), Black Cat, White Cat is an amphetamine rush that never lets up. Thick and spicy as goulash, it’s the kind of script Leonard Elmore might have written if he’s been born a Bosnian gypsy.

Stung by politically-motivated criticism of his previous movie, Underground (1995), Emir Kusturica had publicly announced his retirement from filmmaking. He changed his mind to start working on a documentary about gypsy music, a project he never completed but which sparked the idea for the story that became Black Cat, White Cat.

WHAT THE CRITICS SAY:

“…a mad scramble through the Felliniesque realm of Mr. Kusturica’s imagination, and it proves nothing if not this much: give this man the Danube, gypsy musicians and a camera and you’ve got a party.”–Janet Maslin, The New York Times (contemporaneous)

(This movie was nominated for review by Dr D, who described it as a “joyously insane gangster-wedding-crime movie!” Suggest a weird movie of your own here.)

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