Showing posts with label Cate Blanchett. Show all posts
Showing posts with label Cate Blanchett. Show all posts

Sunday, December 18, 2016

Going Home



Billy (Gordon Pinsent): It's finding the center of your story, the beating heart of it, that's what makes a reporter. You have to start by making up some headlines. You know: short, punchy, dramatic headlines. Now, have a look, what do you see? [Points at dark clouds on the horizon] Tell me the headline.

Quoyle (Kevin Spacey): Horizon Fills With Dark Clouds?

Billy: Imminent Storm Threatens Village.

Quoyle: But what if no storm comes?

Billy: Village Spared From Deadly Storm.

Some actors and actresses become typecast because they play a certain kind of role so well.

When I saw Kevin Spacey in "The Shipping News," which made its big–screen debut on this day in 2001, I kind of had that sensation about him. He is always playing dysfunctional characters, I thought to myself.

That wasn't really fair. His characters aren't always dysfunctional — but his character in "The Shipping News" sure was.

In my experience dysfunctional people generally don't owe that condition to any one person or one event. Oh, sure, there are some who do, but for most it seems to have been an ongoing process to which many people and many events contributed. So it was with Spacey's character in "The Shipping News."

Some of it was beyond his control — his emotionally abusive father, for example — but some of it was simply the outcome of the kind of bad choice that most of us make at some point in our lives — like marrying the wrong person. In Spacey's case, that was Cate Blanchett, who played the town tramp (and was virtually unrecognizable); she gave Spacey a daughter and took off.

He got an answering machine message from his father, who hinted that he and his wife would be gone soon, presumably in a murder–suicide, and, it turned out, they were. Spacey barely had time to mourn that loss when he got news about his wife. She and her, uh, friend took a plunge off a bridge and died when the car hit the water.

His aunt (Judi Dench) stopped to see him as she was en route to the family's ancestral home in Newfoundland; Spacey and his daughter wound up accompanying her. He'd been an ink setter for a newspaper in Poughkeepsie, N.Y., and naturally gravitated to the local newspaper, The Gammy Bird — but was hired as a reporter, not an ink setter. His standing assignment was to cover the shipping news — a pretty important beat in a seaside community.

He wasn't a trained journalist, but he took the initiative to write an article he hadn't been assigned to write. When it was published, to his surprise (and to the surprise of his co–workers), his publisher (Scott Glenn) liked it well enough to make him a columnist.

He also became friendly with a young widow named Wavey (Julianne Moore).

Wavey lost her husband when his ship went down during a storm. I thought one of her most powerful lines must surely resonate with people who have lost someone to whom they were close — in other words, everyone.

"It was four years ago," she said of the loss, "and it was yesterday."

That was a realistic observation, I thought then (and still think today; my hat is off to whoever wrote that line). When you lose someone close to you, the moment you experienced the loss is always lurking just beneath the surface. No matter how much times passes, it doesn't take much to bring back the sharpness of the pain as if it were happening for the first time.

I was impressed with that — but mostly, I think, I was impressed with the portrayal of a small–town newspaper office and staff. I have worked for newspapers large and small, and the atmosphere in a small newspaper office is special. You know you aren't likely to be or work with a Pulitzer Prize winner at a small–town newspaper — after all, William Allen Whites are few and far between — but the work that is done at a small–town newspaper every day truly is the embodiment of what community journalism is all about. It may not be exciting or particularly interesting to anyone outside what may be a rather narrow circulation area, but to those readers in your newspaper's readership, local news is important to them — and there is nowhere else they can get it.

Not even in the digital age.

But there is a dark side to small–town newspapers, and Spacey encountered it in the form of the editor, who apparently made it his mission to get Spacey's character fired. If you haven't seen the movie, you'll have to watch it to find out whether he succeeded.

Well, I guess there is probably at least one sociopathic personality in every newsroom, even the small ones. I'm sure it isn't limited to newsrooms, though. Perhaps there is one in every workplace.

But it didn't stop Spacey's character.

Tuesday, December 22, 2015

Not Exactly a Christmas 'Gift'



"Miss Wilson, I don't believe in what you do. I'll just be straight with you. Not only that, I don't like it. But, we've got to the end of the road of our investigation ... and looked under every rock there is to look under ... and we'd like you to tell us what you can to help us."

Sheriff (J.K. Simmons)

"The Gift," which premiered 15 years ago today, seemed to slip in beneath most people's radars. That is a shame because it really was a suspenseful tale.

Many of those who went to see it during the Christmas season in 2000 may well have expected to see a holiday–oriented tale if all they knew of it was its title. Boy, were they in for a surprise.

Cate Blanchett played a young widow, a psychic who did card readings for people in a small town in Georgia. In the early minutes of the movie, audiences must have been certain that Hilary Swank, who played a victim of spousal abuse, would be likely to turn up dead. Instead it was Katie Holmes, the fiancee of Greg Kinnear who was having torrid affairs with apparently everyone, who turned up missing.

It was enough to give anyone a headache — and then there was Blanchett's long–dead grandmother (Rosemary Harris) who popped up to remind her to trust her instincts.

There were enough creepy things going on to make sure everyone knew this wasn't a Christmas movie.

Now before I proceed, I should try to address what I see as a conflict in terminology. I said that Blanchett played a psychic although I suppose when I was a child I would have called her a fortune teller because questions about the future are what card readings always seemed to me to be about when I was growing up. You know, questions like will I fall in love and get married? or will I be successful? Magic 8–Ball stuff.

And I gather that Blanchett's character did her share of that with many of her clients, but the clients the audience saw were always having their pasts revealed — Swank's abuse as well as the abuse of another character, Buddy (Giovanni Ribisi), who had been abused as a child by his father.

My point is that I'm not sure if psychic and fortune teller mean the same thing or different things.

It is in the area of revelation of the past that I associate the term psychic — if only because I hear from time to time of psychics being brought on to help criminal investigators who have run into a wall in their probes into disappearances.

That is what happened in "The Gift."

Holmes' disappearance brought Blanchett into the apparently stalled investigation. She had a vision of Holmes being attacked and killed and then thrown into a pond on property belonging to Swank's husband (Keanu Reeves), and that led to Reeves' arrest and eventual conviction after Holmes' body was retrieved from his pond.

This brings me to one of my quibbles with the movie. It appeared that Reeves was arrested, then almost immediately put on trial. I know the Constitution guarantees every defendant the right to a speedy trial, but that is much faster than the legal process usually works.

(Speaking as someone who, like many novice reporters, covered police and fire beats, things don't happen as quickly as they seem to happen in the movies.)

But Reeves' character wasn't guilty, as Blanchett learned in another vision, and she went to the prosecutor (Gary Cole) to ask him to reopen the case. She couldn't see who the killer was, she said, but there seemed to be no shortage of prospects, including Swank, who knew that Holmes had been sleeping with her husband and, consequently, "she deserved what she got."

Such can be the moralizing posture of a small Southern town.

When I saw "The Gift," I was inclined — and I still am — to think of it as being successful in its bid to be suspenseful, in no small part because of the cast that was assembled. Otherwise, though, I kind of felt it became a rather predictable whodunnit in the second half of the movie.

Film critic Roger Ebert was more glowing in his praise. "The movie is ingenious in its plotting, colorful in its characters, taut in its direction and fortunate in possessing Cate Blanchett," Ebert wrote. "If this were not a crime picture (if it were sopped in social uplift instead of thrills), it would be easier to see the quality of her work. By the end, as all hell is breaking loose, it's easy to forget how much everything depended on the sympathy and gravity she provided in the first two acts."

There is truth in that.

Blanchett's character provided a balance in the telling of the story — at one point Buddy told her she was the "soul" of the town, and I think the same could be said of her influence on the movie.

But what many people — mostly, I suppose, adolescent males — found and still find memorable about "The Gift" was it contained Holmes' first nude scene.

Ebert's opinion notwithstanding, the movie received no recognition from the Oscars — doesn't seem to be too surprising. The Oscars seldom give nominations to comedies or supernatural thrillers.

That doesn't mean, of course, that they aren't worthy of recognition. It's merely a long–standing Academy bias.

Thursday, December 25, 2014

Foundering in 'The Life Aquatic'



"Nobody knows what's going to happen. And then we film it. That's the whole concept."

Steve Zissou (Bill Murray)

Roger Ebert summed things up for me pretty neatly in his review of "The Life Aquatic with Steve Zissou," which premiered 10 years ago today.

"My rational mind informs me that this movie doesn't work," Ebert wrote. "Yet I hear a subversive whisper: Since it does so many other things, does it have to work, too? Can't it just exist? ... Wes Anderson's 'The Life Aquatic with Steve Zissou' is the damnedest film. I can't recommend it, but I would not for one second discourage you from seeing it."

Anderson directed and produced this parody of famed ocean explorer Jacques Cousteau disguised as documentary. He achieved greater critical and commercial success with 2001's "The Royal Tenenbaums," but his style may never have been as clearly defined as it was in "The Life Aquatic."

Steve Zissou (Bill Murray) had a bizarre assortment of crew members and general hangers–on aboard.

For example ...

Zissou's ex–wife (Anjelica Huston) and her ex–husband (Jeff Goldblum) were on board — as was a fellow who believed he was Zissou's long–lost son (Owen Wilson). Cate Blanchett played a journalist who was covering the expedition. She also happened to be pregnant.

Another member of the crew crooned David Bowie songs in Portuguese.

And there was a girl who could be seen from time to time on board the ship (which looked like something dreamed up by Jules Verne). She seldom spoke and was noteworthy mostly for being topless in almost all of her screen time. Being topless had nothing to do, really, with the plot. It just seemed to be the way she rolled.

It was that kind of movie.

Seems to me everyone on board had a reason for being there that was unique (or nearly so) to him or her.

Steve Zissou was driven to track down and kill a shark that ate one of Zissou's team members.

Zissou's alleged long–lost son was there, essentially, to remove the alleged part from that description. The crew members were there because, well, it was their job to carry out whatever eccentric and obsessive mission Zissou was on. Willem Dafoe played the most prominent of the crew members.

I'm not really sure why Zissou's ex–wife (and the alleged mother of the alleged long–lost son) was there — and it is really a mystery to me why the ex–wife's other ex–husband was there at all. I'm sure a lot of it was explained when I saw it, but I saw it the day after Christmas 2004 — which was also the day of the great tsunami that killed thousands. In the aftermath of that event, which was unfolding when I was in the theater, movie details escaped me.

Anyway, along the way, Zissou's vessel encountered Filipino pirates and financial woes. And when the crew finally did catch up to the shark, as Ebert observed, "they fall silent and just regard it, because it's kind of beautiful. This could have been a scene from '20,000 Leagues Under the Sea' if Captain Nemo had been a pothead."


Like Ebert, I wouldn't discourage anyone from seeing "The Life Aquatic." In hindsight, though, it strikes me as being disjointed and unfocused much of the time — a good idea that had a lot of unrealized potential.