Mr. Soul! (2018; d. Melissa Haizlip)
The opening night film of Indie Memphis, which already feels like it was 20 years ago. I wrote about it briefly in my recap of the festival for Ebert. It’s a gorgeous film.
Supernatural, Season 14, episode 4, “Mint Condition” (2018; d. Amyn Kaderali)
I enjoyed this episode a lot. It had a fresh and funny energy, with a lot of inventive sequences. I take what I can get these days.
Shoot the Moon Right Between the Eyes (2018; d. Graham Carter)
Another treat from the Indie Memphis festival (which I also wrote about at the link above). We really loved this movie.
If Beale Street Could Talk (2018; d. Barry Jenkins)
The regional premiere of Barry Jenkins’ highly anticipated followup to Best Picture winner, Moonlight. I attended with John Belfuss, a reporter for the Memphis Commercial Appeal, and Robert Gordon – whom I met that night – he was going to be introducing my Elvis talk, so we had a little pow-wow beforehand. Seeing Beale Street for the first time – in MEMPHIS no less – was really special (even though, of course, James Baldwin’s book does not take place in Memphis). Barry Jenkins was unable to attend, and he sent this beautiful video message to all of us, played before the screening. The place was packed. They had to bring in more chairs. I loved the film, AND congratulations to Regina King – whom I have adored ever since Jerry Maguire (“My life does not WORK without him!” Sob!) – for winning Best Supporting Actress in the NYFCC Awards. It was a pretty exciting moment “in the room” when the votes were tallied, showing that she won – evidence of everyone’s love of her work, her career as a whole, and the fact that she will be recognized for her performance in this. She’s such a fantastic actress.
The Hitchhiker (1953; d. Ida Lupino)
I re-watched this gripping gritty thriller in preparation for the Film Comment podcast – subject: Ida Lupino, actress and director. It’s SO good. If you haven’t seen it, what are you waiting for?
Roadhouse (1948; d. Jean Negulesco)
God, I love this weird movie. Starring Ida Lupino, Cornel Wilde, Richard Widmark and Celeste Holm. A murderer’s row.
Wild Life (2018; d. Paul Dano)
This is a wonderful movie. There’s a sort of What Maisie Knew vibe, parental discord as seen through the eyes of a child (although Maisie is younger than the boy here. The boy here knows enough to see what is going on). Beautifully shot. An auspicious directorial debut from Paul Dano.
The Other Side of the Wind (2018; d. Orson Welles)
What is there to even be said? 40 years in the making. Orson Welles’ final film, which he had obsessed over, tried to find funding for, kept coming back to. A legendary project, with reels basically held hostage by the Iranian government, which … only Orson Welles would get himself into such a situation. But with the hard work and devotion of a number of people, the film has been put together – trying to honor Welles’ wishes … An extraordinary project. I almost couldn’t believe I was sitting down to watch a NEW ORSON WELLES movie. I got very emotional. Even better, it’s phenomenal. So ahead of its time it takes your breath away. He saw where we were going. Filmed on all different kinds of “stock” – it’s a film from the POV of the many paparazzi/documentary “film-makers” following the famous director (played by John Huston) around. (It is for this reason that it has taken so long to put this film together. Only now – with digital innovations – could all of this different kind of film be put together.) If you haven’t heard much about it, then … first of all, where have you been? But second of all, there’s been a ton of commentary on it, as well as two new documentaries. It gives good background about this project, and Welles’ desperate attempt to finish it. Well, here it is. Finished. Is it what he would have wanted? How can we know? He had put together much of it already, and left copious notes and shooting scripts and all the rest, all of which were pored over obsessively. Much thanks to Frank Marshall is in order, who was very instrumental in seeing this project through (Marshall had been an assistant on the original shoot). The film is on Netflix now. You really must see it. It’s incredible. I am so grateful it exists now.
A Final Cut for Orson: 40 Years in the Making (2018; d. Ryan Suffern)
On the Netflix page of Other Side of the Wind, if you click on “Trailers”, you’ll get to this. It’s a little bit buried but it is so worth watching. It gives the background of the project. Watch this before you watch the movie.
Roma (2018; d. Alfonso Cuarón)
This is a must-see. We voted it Best Picture at NYFCC. Not best FOREIGN film, but Best Picture.
Homecoming (2018; d. Sam Esmail)
This series was very very enjoyable. Stylized like a 1970s paranoid thriller, it features Julia Roberts in a role which doesn’t allow her to do the things she normally does – rely on her natural charm, charisma, humor – none of that would be appropriate for the character – which is very very interesting, and makes this an interesting – and daring – choice for her. She doesn’t get to be confident, funny. She ALSO doesn’t get to be “the smartest person in the room” – always part of her persona as an actress. She has to play a woman cowed by forces larger than her, a woman who is always 5 or 6 steps behind events, someone who literally does not know what has happened to her. She’s wonderful! It took me a couple of episodes to succumb to the series’ mode – which is rather silly, honestly – but I really liked it.
Deadwood, Season 1, episodes 1 – 6 (2004)
I have never seen it. I know, I know. I didn’t have HBO at the time, and have never gotten around to catching up. Until now. My friend Keith, who ushered me through The X-Files and Millennium is now binge-watching Deadwood with me. We are really good binge-watch buddies. We watched 6 episodes on our first get-together and then I had to wait two weeks for our second meet-up. I almost cheated. Yes, I know, I am late to the party. People have been telling me to watch Deadwood since 2004. And now I understand. The acting is so phenomenal, the characters are all so well-drawn and … the whole thing is in iambic pentameter? WHAT. I’m obsessed.
Tehran Taboo (2018; d. Ali Soozandeh)
An extremely bleak animated film about life in Tehran, and all the taboos (too many to count), and how people get around them – not for pleasure’s sake, but for survival. It’s brutal. Beautifully done.
Monrovia, Indiana (2018; d. Frederick Wiseman)
The new documentary from the masterful Wiseman. It’s amazing. It’s been a year of incredible documentaries. This is one of the best.
They’ll Love Me When I’m Dead (2018; d. Morgan Neville)
This is the SECOND documentary about Orson Welles’ The Other Side of the Wind, also on Netflix, and also essential.
Supernatural, Season 15, episode 5 “Nightmare Logic” (2018; d. Darren Grant)
Truly embarrassing. One of the worst episodes in recent – or even lengthier – memory.
Amazing Grace (2018; d. Sydney Pollack)
Another doc decades in the making. What a year!! If you’re not aware of the backstory: In 1972, Aretha Franklin – at the height of her fame – recorded a live gospel album. To this day, it’s a high watermark in gospel recordings, AND in her career. Sydney Pollack filmed the concert. BUT – and how is this possible – the sound was not synced up. He had somehow forgotten to use the clapper. So the footage has sat in a vault for almost 50 years. Franklin herself did not want the film to be seen, for various reasons (it’s been talked about obsessively. Google is your friend). Once she died, it was time to basically ignore her wishes, and a producer – Alan Elliott – headed up the project to get the sound synced, and the film completed. It’s being given a short theatrical run (only in LA and NY, I think) to qualify for awards, but eventually it will hit streaming platforms and trust me when I tell you: you have GOT to see this. There were moments where I felt like I literally stopped breathing, her performance is so deep and raw and transcendent. Seriously, so many times I’d think to myself, “Okay, that was clearly the climax of the song, because it was so intense I almost can’t bear it” … and then she’d go to yet ANOTHER level. Do not miss this one.
You & Me (2018; d. Alexander Baack)
A film being released on streaming platforms TOMORROW. I interviewed the director about it. It’s beautiful.
The Rider (2018; d. Chloé Zhao)
This is in my Top 5 of 2018.
Write When You Get Work (2018; d. Stacy Cochran)
Some really interesting stuff here, I reviewed for Ebert.
Juliet, Naked (2018; d. Jesse Peretz)
I really enjoyed this!
Love & Mercy (2014; d. Bill Pohlad)
God, I love this movie. I’ve watched it many times at this point. Wrote about it here.
The Land of Steady Habits (2018; d. Nicole Holofcener)
I love Holofcener’s work so much. It’s detailed, it’s observant, it’s funny too. Her latest is pretty bleak, moving into John Cheever territory. A guy, a “winner,” who made a killing on Wall Street, has retired early and has completely exploded his life. On purpose. Ben Mendelsohn is great as a guy who is OLD to be this lost, to be this … silly, really. But this is what happens. He can’t be married, so he left his wife, and yet he can’t stop himself from stopping by, going to visit. The habits of the title are the habits engrained in him, the habit of marriage but also the habit of indiscriminate unsatisfying sex with others. It’s depressing in the same way John Cheever is depressing. Catharsis really isn’t on the table. I loved it. On Netflix now.
The Miseducation of Cameron Post (2018; d. Desiree Akhavan)
Two movies about gay conversion therapy in one year (the other one being Boy Erased). Of the two, this is the one to see. Jennifer Ehle is the stuff of nightmares. Very very effective, and really goes at the underlying pathology of those who ran organizations such as Love in Action.
Magic Mike XXL (2015; d. Gregory Jacobs)
One of my favorite movies of the last 20 years. I had such a strong response to it I think I saw it 3 times in the movie theatre. And wondered if it would “hold up.” It does. Men who haven’t seen this movie because it doesn’t seem like it’s “for them” (it’s more for YOU then it is for US, by the way: we already KNOW all this stuff) – or who scoff at it, or who don’t get it – need to really listen to what other people have to say about it, and then try to open your mind. You will have no excuse then if you still say baffled shit like “what the hell do women want”. Maybe to be treated with affection, maybe to have our happiness taken into consideration, maybe to not be punished for wanting sex with you or whoever else? It’s not rocket science.
Supernatural, Season 15, episode 6 “Optimism” (2018; d. Richard Speight Jr.)
This had many enjoyable aspects, and Speight has shown himself to be one of the most talented directors on staff. I mean, I watch “Just My Imagination” all the time. It’s perfect.
Black Panther (2018; d. Ryan Coogler)
End of year means screeners start piling up in my mailbox. I hadn’t seen this in the theatre so I was catching up. It’s so much fun.
Never Look Away (2018; d. Florian Henckel von Donnersmarck)
A wonderful new film from the director of The Lives of Others: a sweeping panorama of life in East Germany spanning the years 1937 to 1968 or something like that. Based somewhat on the life of painter Gerhard Richter. I loved it. My review is up at Ebert.
The Lives of Others (2006; d. Florian Henckel von Donnersmarck)
A re-watch in preparation for my review of Never Look Away. It’s such an extraordinary film.
Cold War (2018; d. Pawel Pawlikowski)
The follow-up to his celebrated (understatement) film Ida. Cold War looks at the history of Poland during the “cold war” through the lens of popular music (which also played a big part in Ida, if you recall). A fascinating look at the Politburo’s “campaign” to elevate Polish “folk music” basically to show … happy peasants frolicking in traditional dress … as part of the propaganda for their Socialist Utopia. See how everyone is happy? The film is much more than that. It’s also a love story. And the impossibility of life under the regime in Poland, pre-1989. Stunning black and white cinematography. I loved it. We gave this Best Foreign Film at NYFCC.
Shoplifters (2018; d. Hirokazu Koreeda)
This movie, people, this movie … I cannot get it out of my head. In my Top 10 of 2018. Great great film.
The Guilty (2018; d. Gustav Möller)
What an amazing film. Similar to Locke (wrote about it here), which featured Tom Hardy in a tour de force performance, managing multiple crises from his car phone. No other human beings appear in it, just their voices on the other end. In The Guilty, a disgraced cop – demoted to emergency dispatch call center – gets a call from a woman who claims she has been kidnapped. He tries to help. The entire film takes place in one room, and while there are other characters in the background – he is the focus. You never see the woman on the other end, or the many many other people he calls to try to manage the situation. Jakob Cedergren is phenomenal.
Leah Remini: Scientology and the Aftermath, Season 3, episode 1 (2018)
Season 3 up and running. I admire so much what she is doing. I can’t even believe it is happening, to be honest.
The Ballad of Buster Scruggs (2018; d. The Coen brothers)
I’ve seen it twice now. The first viewing, I was so taken with the chapter called “The Gal Who Got Rattled” it overtook my response, especially in regards to the final “chapter.” I was missing some of the subtleties. It was necessary to go back and watch a second time. The second viewing was almost more gratifying, since I could settle in and notice the details. Not just that, but also feel the Arc of the overall thing – which is very strong, even though I couldn’t really FEEL said Arc on first viewing. I really love this film.
The Favourite (2018; d. Yorgos Lanthimos)
I loved it. Lanthimos brings up strong responses in people. This may be his best, his most assured. It’s kind of crazy, too. Olivia Colman is extraordinary.
Vice (2018; d. Adam McKay)
Went to the screening at SVA, with Adam McKay, Amy Adams (and a host of others) in attendance. I loved The Big Short. There are moments in this I enjoyed (the Shakespeare scene, the false ending), but in general, I didn’t really care for it. I know I’ve told this story before, but my uncle punched Dick Cheney in the face for being a drunk asshole in the O’Malley home. I am proud of this. It was actually an O’Malley brothers brawl, my dad included – as they all basically threw him out into the street, like, “Go the fuck home, drunkie.”
Supernatural, Season 15, episode 7 “Unhuman Nature” (2018; d. John F. Showalter)
I liked a lot of this, in particular the Jack/Dean scenes. And the Impala getting shown off. There’s so much that is – on almost a cellular level – wrong with this show now, so much that’s “off” … it’s sometimes hard to hang in there. All I see are missed opportunities. And again with the Supernatural Tuberculosis? But there were some good scenes here.
Boy Erased (2018; d. Joel Edgerton)
This is what happens when a heterosexual Australian makes a movie about a gay American kid. Nope. No sense of critique of the underlying sinister nature of conversion therapy (see Miseducation of Cameron Post, written by a queer author, directed by a bisexual director – these things don’t ALWAYS matter, but sometimes, boy, they do), and no sense of who the hell this boy is. The parents are let off the hook, and this wasn’t helped by the shallow performances of Crowe and Kidman (it hurts me to say this, they’re usually so good). Everything was bleak and dark and grim. Yes, a grim story, but again, see Cameron Post to see a more human treatment. Edgerton is a total outsider in every way, and it shows in the movie. I’ve liked his work before. This is a misfire.
What Haunts Us (2018; d. Paige Tolmach)
One of the screeners that arrived in my mailbox this month. Popped it in just to check it out. It’s a powerful piece of work, upsetting, infuriating, very well done.
Deadwood, Season 1, episodes 6 – 12 (2004)
Spent the day, again, over at Keith’s, watching the final 6 episodes of season 1, with Kyle, another huge fan of the series. The rain poured down outside, and I was just so sucked into this Deadwood world, these people! I was in tears OFTEN (the final shot of Season 1. STOP IT.) We already have our date for Season 2 binge-watch. I’m beside myself. It’s so good. I am late to the party, AS ALWAYS. But at least I got here eventually!
So happy you got to Deadwood! What I love:
1. The Worst Guy in the World changes from season to season, so that the Worst Guy in Season 1 becomes downright heroic by Season 3, despite his being seriously awful.
2. The theme of the series, which is, I think, society itself, and what it takes to bring a group of desperate, selfish, weak, occasionally good, more often terrible people together to create a viable community. Also capitalism. I can’t think of another America drama that does this.
3. The speech. As you say, this is downright Shakespearean, and it makes sense, because if you live in a howling void, pre-society, essentially alone, you talk to yourself a lot (I live with dogs), and being alone with yourself you become spectacularly self-aware. Everybody in Deadwood is self-aware, which makes those great monologues possible.
It’s the level of writing that makes me so happy.
Jincy – yes, the writing! I was saying to Keith, too, that each character speaks in his or her own cadences and rhythms. There isn’t one “voice” to the show, there are many. And Shakespeare did this too. Some characters speak in verse, others speak in prose, some are flowery, some are straightforward. I love how, in Deadwood, each person has their own form of expression. William Sanderson! Oh my God, his line readings. INCREDIBLE performance.
and agreed that the theme is society. There’s a scene early on, with a trial – held in the whorehouse – and there was something touchingly vulnerable about it – a faint grasp towards law & order. This is the way it went down.
// if you live in a howling void, pre-society, essentially alone, you talk to yourself a lot (I live with dogs), and being alone with yourself you become spectacularly self-aware. Everybody in Deadwood is self-aware //
I absolutely LOVE this thought.
An other thing about Deadwood that I love is how it can be heartbreaking and hilarious, often within a single episode. For me, as a lawyer, I also find that it is true to the ways in which law and lawlessness mingle. I suppose that this is a subset of the way it is about society– some rob with a six shooter and some with a fountain pen, but as a species humanity really does endeavor to move toward justice, and not merely towards law.
Bill – wow, I really love this thought!
Everyone’s comments here are helping me appreciate more of the depth of what the show is tackling.
I’m slightly overwhelmed now by my first impressions – so my thanks for helping me get some of these deeper levels!
and yes – heartbreaking and hilarious!
I’m so excited that you watched Homecoming! I listened to it in its original form as a podcast – it was the first “narrative” podcast I had ever listened to, but I found it captivating. Oscar Isaac voiced the Walter Cruz character, and he did so much with nothing but his voice as an acting tool. It blew me away. I’ve been interested to see how they would adapt it for a visual medium. Glad you enjoyed it; I’ll have to check it out.
Bethany – I need to listen to the podcast! What an interesting (and old-fashioned) idea – just like Orson Welles and his theatre company used to do!
Stephan James – who also plays the lead in If Beale Street Could Talk – is having a great year! He’s wonderful in the role Oscar Isaac played – and the two actors really don’t have much in common. I’d be interested to hear Isaac’s “take.” You really feel for Walter Cruz – especially as he starts to lose his memories, and doesn’t know he’s losing them. It’s awful!
The TV series adaptation is extremely stylized – lots of split-screen stuff – and lots of weird paranoid angles. The style, at first, felt like “too much” – I resisted it – but then, about 2nd, 3rd episode, it sucked me in.
I really enjoyed it. Great cast! Sissy Spacek, Bobby Cannavale, Marianne Jean-Baptiste.
As always, Sheila, you have given me a list of things that I must check out although to be honest, my first is going to be “Amazing Grace”. I have been an Aretha Franklin fan for forever since my mother introduced me to her. I had the original album and wore it out. I also want to thank you for saying that “Black Panther” was fun. It was supposed and is entertaining first. with none of the silly overtones that seem to seep out of our reviews. Thank you. So glad you’re enjoying “Deadwood”. Iambic pentameter indeed.
Will love to hear your thoughts on Amazing Grace. The vibe in that church, the shots of the audience members – with Mick Jagger and Charlie Watts sitting in the back!! Aretha, man.
I loved Black Panther! Good performances, they didn’t forget to add humor to it, and excellent costumes/setting/look. Yes, some of the reviews were wayyy silly – understandable, maybe – Black Panther is a big deal – but what really matters is it was entertaining and super solid. Great cast too!
I’m dying to get back to Deadwood. I can barely wait the next 2 weeks to start up Season 2!
Hahaha, allow me to be the third person to communicate excitement re: Deadwood and the second to do so re: Amazing Grace, which I am so so so so SO EXCITED to see. I don’t even particularly love that album (I like it enough), but I’m eager to see if the film is what finally makes it click for me.
Deadwood is so brilliant. I knew nothing about it going in, and was shocked when they knocked off Keith Carradine in, what, the fourth episode? So many GREAT characters and performances, and I can’t think of a show with better swearing.
I love the Cheney story, too. As should any citizen of the world.
Tom – Amazing Grace, for me, was the best doc of the year – and it’s a VERY crowded field!! It feels almost like a miracle. How could Sydney have forgotten to use the clapper so the sound could be synched? It’s bizarre. The only thing I can think is that the momentum in that room – from Aretha – and the INCREDIBLE church chorus singing with her – was such that he forgot he was supposed to interrupt it? That there were “scenes” within the concert he needed to keep track of? What a disaster. But we have it now and that’s a good thing!
// I knew nothing about it going in, and was shocked when they knocked off Keith Carradine in, what, the fourth episode? //
I KNOW.
I knew Wild Bill was killed during a poker game in Deadwood. But I somehow forgot about it while watching the show – so it came as a huge surprise. Especially how it went down. You could feel the bad juju gathering … but he seemed indestructible. Also, Carradine! He looked like one of the Three Muskateers in his get-up and I just loved it.
I fluctuate on my favorite character. Each arc provides more depth, more understanding. I was a huge Timothy Olyphant fan from Justified – and he’s so amazing here too. The way he walks – stiff, straight-backed – sooo compelling. I love John Hawkes – and I love that relationship – maybe the only healthy male-male relationship in the whole thing? (I realize this may change – no spoilers!)
I love Charlie Utter – – Dayton Callie a favorite of mine. How shy he is about wearing a frock coat!
POWERS BOOTHE. soooo good. RIP.
Brad Dourif is absolutely killing me. He has been doing magnificent work for over 50 years. Amazing actor.
It’s so rich, so textured – I can’t even process it. I already can’t wait to re-watch!!
Just want to join the chorus of glee that you are watching Deadwood, and just say the word and I will fire off a 3-volume Victorian novel of a twitter storm as follows, Vol 1 ‘ The male shirt (or lack of) As a definition of Character in Deadwood’; Vol 2 ‘The Ballad of Joanie’s Hats.’ And Volume 3 ‘Say, where can I find a good gravedigger round these parts?’
// I will fire off a 3-volume Victorian novel of a twitter storm //
Yes, please?
Okey doke! Preparing those gifs now.
A couple of superficial but not really observations:
— the variety of facial hair is worth a dissertation.
— the CLOTHES. I love that the costumes do not feel like costumes, but like shit that people actually wore back then – including the wear and tear. You wore a coat or a dress until it fell off your back.
— I love how the town basically blossoms like a mushroom DURING the season. It changes during episodes. This reminds me of McCabe and Mrs. Miller (much of the series reminds me of McCabe and Mrs. Miller). Altman would have crew members basically IN the shots, building stuff – he put them in costume and included them in the action.
— The sexual tension between Olyphant and Molly Parker was agonizing. So, too, the sexual tension – so which is, so far – at least by end of Season 1 – unacted-upon – between Utter and Joanie. I am very very invested in Utter and Joanie – although I know getting invested in anything positive is probably a fool’s errand with this story.
— The poor preacher. His whole arc made me cry. That poor man.
and Kristen Bell! That episode was so brutal.
Ricky Jay!!! RIP!
//the CLOTHES.//
I know, right? I have spent A LOT of time looking at Joanie’s wardrobe in particular, which is spectacular, if that’s the word, in Season 1 and gets even more so as the show continues. It’s like every item of clothing that woman has chosen for herself is telling contradictory stories about who she is and what she wants. Wild Bill’s and Charlie Utter’s gear is amazing (Utter was apparently also quite a dandy). And all of Molly Parker’s wardrobe, including the stuff you never see her wearing but is just there in her living space. So detailed.
// The sexual tension betweenOlyphant and Molly Parker was agonizing. //
Like, I. Can’t.Even.
And brilliantly balanced by what’s going on with Sol and Trixie.
Joanies clothes are AMAZING. The top hat she wears with the long scarf hanging down her back?? She looks like a Victorian-era show-pony. Gorgeous.
Molly Parker’s wardrobe is amazing – so stiff you wonder how she can move. So that when she takes the dress off – it’s so vulnerable because she’s so covered up so normally. Ack, it’s so sexy.
And the “mayor” – who is so brilliant. His lace collar and ripped jacket – he looks like the Mad Hatter!
I absolutely love Sol and Trixie. I’m fearful of what is to come!
and of course I haven’t even mentioned Jim Beaver!
Sheila! Joanie’s hat! Her hat!!!!!!!!!!!!!! I’m too otherwise overwhelmed to comment fully on Deadwood — where could I even start, it’s a cat5 hurricane of beauty and emotion — I do hope you get a chance to put up an open post or something once you’ve seen it — but the fact that you singled out her hat as worthy of note makes me extremely excited for any ensuring discussion.
I wasn’t as low on Boy Erased, but probably only because I had been expecting it to be even worse.
What’s kind of interesting about it is that the book it’s based on (which I read after) is just terrible. In every way. (I found it much worse than the film — Edgerton invents the few scenes that are in any way critical or involve stakes w/r/t the therapy.) Purple prose, weird leaps in logic, and a similar problem to the film: this isn’t the guy to tell this story — he was there for seven days, but makes himself the protagonist.
I don’t know what it’s like in the States, but here in Canada The Miseducation of Cameron Post was basically buried by its distributor. I know the Grand Prize at Sundance doesn’t mean what it used to, but still. The disparity between how that film was handled and how Boy Erased is being promoted seems ridiculous to me.
// (I found it much worse than the film — Edgerton invents the few scenes that are in any way critical or involve stakes w/r/t the therapy.) //
Wow, really interesting!! I have not read the book. Now I’m curious.
// Purple prose, weird leaps in logic, and a similar problem to the film: this isn’t the guy to tell this story — he was there for seven days, but makes himself the protagonist. //
Interesting. “Boy Erased” is also an unfortunate title because – if you’ll forgive me, this is mean – there wasn’t much of a character there to be erased. Maybe that’s the point?
The rape scene, in particular, was terrible – in a lot of ways – because it positioned “gay sex” as something scary – and there was nothing to counteract it. No scenes of him having a crush on someone, or making out with someone – you know, the possible JOYS of being gay and accepting your sexuality.
In re: Miseducation: yes, it was buried here too. I wonder why. Boy Erased is getting so much press – On Facebook, a friend of mine wrote a very critical post of Boy Erased, and many people in the comments – some of whom actually were put into conversion therapy when they were in high school – were very upset, saying “This is an important story – we need a better movie” – and I kept responding with “The Miseducation of Cameron Post came out earlier this year” – and nobody had even heard of it. WTF.
Is it because Desiree Akhavan … isn’t as big a star as Joel Edgerton? But he’s not even THAT huge a star – and she already has a very good movie under her belt (Appropriate Behavior), plus a string of interesting things on her resume, including Girls.
Is it because Miseducation is about a lesbian, and lesbians aren’t as “hot” a topic as gay men? Now I’m getting cynical, assigning sexism to the problem, but I can’t help but wonder. It’s such a better movie than Boy Erased.
//“Boy Erased” is also an unfortunate title because – if you’ll forgive me, this is mean – there wasn’t much of a character there to be erased. Maybe that’s the point?//
That’s because Edgerton basically scrubs the character of all his traits in the book — Conley/Eamons is, in the book, really insecure. He talks a lot about losing weight and quitting videogames, he doubles back over his experiences and wishes he wasn’t gay — there are some stretches of self-loathing and discomfort with accepting what it means to be gay that I almost couldn’t believe. One example that I quoted when I wrote about the film: “Yet the thought of abandoning my parents, of joining a community of gay-friendly people and somehow continuing life without them—this seemed even worse than suicide. Cutting away my roots and the people I loved would transform me into a shell of the person I once was.”
I can understand Edgerton trying to make the protagonist more confident, more decent and likeable, but the problem is both him and the book. There aren’t any positive expressions of joy or acceptance in the film because there aren’t really any in the book — showing him with his partner at the end seemed like an obvious entry point to that, but then it doesn’t get closer than a glimpse. Perhaps because even that glimpse isn’t in the book, and Edgerton, completely relying on the book (and Conley, who advised throughout the scriptwriting process), didn’t know enough to either push back and take the story in a different direction or, I suppose, lean into that experience of doubt and disorientation instead of shying away and trying to make a model character.
People often talk about diversity in directors and stories as a question of knowledge. But it’s also a question of timidity. A director who really wanted to own this story wouldn’t settle for something like this.
//Is it because Miseducation is about a lesbian, and lesbians aren’t as “hot” a topic as gay men? Now I’m getting cynical, assigning sexism to the problem, but I can’t help but wonder. It’s such a better movie than Boy Erased.//
It’s a factor, I think, but after thinking about it a little more, it probably has a little more to do with the distributor (FilmRise, who haven’t been around that long) not knowing what it had and the distrib for Boy Erased (Focus) really knowing how to navigate awards season. But still — a shame.
Michael – wow, thank you for this really indepth response.
// People often talk about diversity in directors and stories as a question of knowledge. But it’s also a question of timidity. A director who really wanted to own this story wouldn’t settle for something like this. //
Really good point, one I hadn’t considered.
And if Edgerton was being totally faithful to the book – with the actual author at his side – instead of going “okay, let me tweak this and that to give us a more powerful way in” – because he felt timid – then it makes sense how nothing else could really be possible from that starting point.
I also feel like he might have been slightly intimidated by Kidman and Crowe – or maybe just not comfortable giving direction to them – because I felt both of them were giving really shallow performances. These are not shallow actors, and neither could be said to be miscast. But for whatever reason, neither of them really “came off.” Like the scene at the end where the dad gives him the pen – like, “I write my sermons, now you write your book” – a passing the torch, a “permission” granted – it could have just SLAYED me, if everything else had been set up. Instead, it was just a big nothing onscreen.
So this, too, may speak to Edgerton’s timidity. Not wanting to push – also not at all feeling confident in his ownership of the story.
I really liked his film The Gift – he was on much surer ground there.
Is there a link to where you wrote about the film? Would love to read.
Totally agree re: The Gift.
And I think you’re really onto something with the other performances. There are so many ways that religious stubbornness and coercion are usually (poorly) presented that I think Edgerton et al. mainly thought of ways to sidestep the obvious problems/cliches instead of digging deeper into what that really looks like.
And thank you! Here’s the link: https://www.straight.com/movies/1162336/joel-edgerton-brings-conversion-therapy-memoir-boy-erased-big-screen
It’s interview-based, and I wish I’d been able to ask Edgerton better questions after having thought about the film more. But that’s the nature of festival coverage, I guess.
Yes, Deadwood! We binged the whole thing this summer during the great family room shut-out. Such an amazing ensemble cast – each character so richly formed. Besides the obvious stars one of my favorites is Calamity Jane! Talk about clothes, hers are this bizarre mix of filthy frontiersman, self loathing, and a brief glimpse of shy femininity underneath it all.
I read an interesting piece about the language. Many pioneers would only have access to the King James Bible as written word, if they could read, and so when trying to speak formally would imitate that style. Profanity was considered the great leveler regardless of wealth or station. It does seem somewhat like a Homer, Shakespeare, and Lil Wayne mashup.
We’re watching Mars right now and the issues have come up of lawlessness. I think about Deadwood. They were equally separated from civilization, law & order, society. That struggle is the same. Great show!
// Besides the obvious stars one of my favorites is Calamity Jane! Talk about clothes, hers are this bizarre mix of filthy frontiersman, self loathing, and a brief glimpse of shy femininity underneath it all. //
I love Jane! I love how she’s an instinctive and great nurse. Not afraid of the plague patients. An open wreck at the sight of other people’s sufferings. I love her. And so funny too!
Interesting in re: King James!
Joining in to say YAY DEADWOOD! I’m almost jealous you’re discovering for the first time, but to be honest, every time I re-watch it feels new in some ways, because it is so rich, there’s so much to see, and the language is beautiful and can be so difficult when it’s not your first language. I love them all so much! The acting is incredible – can you imagine receiving those scripts? Those glorious monologues!
Jane! Joanie! Trixie! Sol! Alma! I love them all so much.
I love that you talked about the way TO walks, the stiffness – it was the first thing I said to Jessie when she told me some people said TO was playing the same thing in Deadwood and in Justified – fools!
So many things I want to talk about, but I’ll wait until you’ve started season 2. Exciting!
It’s awesome! One of the best ensembles I’ve ever seen – even the smaller characters – you get to know them, they’re a part of the action, the landscape and background – it’s such a fully fleshed-out world.
I so want to cheat and start peeking ahead but Keith made me promise. :) It’ll be better to stretch it out anyway. I already can’t wait to re-watch. :)
TO definitely has a distinctive walk – also there in Justified – he has this coiled-up almost still straight-ness – no extraneous movements, no fidgeting. The effect is different in Deadwood – mainly because the screen is always so crowded with people. He slices through the crowd like a shark – gliding, focused. I love how he moves!
and his EYES. BAH.
//He slices through the crowd like a shark //
Wow, I can totally see that, yes!
He always has that very distinctive way of moving his body – even when he “dances” in Santa Clarita Diet, ha ha! But in Justified, his character might be angry (“the angriest man I’ve ever know”) but I think he’s relaxed in himself – Bullock is so freaking TENSE all the time, and I find it shows in all his body. What do you think?
It makes me so, so happy to discuss Deadwood here! (Pretty much the entire cast is in Sons of Anarchy, just saying… :) )
Ugh, I so want to re-watch now!
// Bullock is so freaking TENSE all the time, and I find it shows in all his body. What do you think? //
He really is. It’s such an interesting combination – he seems comfortable/sure with himself in so many ways – a man who is going to do what he wants to do – but then there’s all this other stuff going on. Plus, the wife/kid who I know are on their way to join him so that should be interesting.
I think on some level he is comfortable following through on his impulses – he’s not all bound up in inhibitions – so there’s a reason Wild Bill Hickock would look at him, and not just trust him but actually LIKE him. I love that relationship!
Sometimes he’s just so tense right off the bat, I find it hilarious. Like, it’s the first words in an interaction with Swearengen, you know it’s going to go south, from 1 to 1o in a matter of seconds, but Bullock starts at 9 immediately, his jaw clenched. And Swearengen looks at him with a mix of anger and amusement that I can’t get enough of, ha! They are so fantastic together because of those subtelties, where it could have been so flat with lesser actors.
Maaaaan, I need to re-watch.
They really are so fantastic together.
and – I think it was Jessie who observed in re: him as an actor when we were discussing Justified: he has chemistry with everyone. He has chemistry with his horse. With randos he barely exchanges dialogue with. With women. With men. He’s that kind of actor. He’s not in his own little world, he’s open to everything – to what’s going on inside of him, and what’s going on with everyone else.
He’s unique in that way. Chemistry doesn’t even mean good chemistry. It could be bad chemistry. Whatever the situation, he CONNECTS.
and ha, I know – I was so eager to “tell all of you” here I was watching it because I know the love for the series.
This’ll be fun!!
But yes – to your (and Jessie’s) point: the two characters TO plays in Deadwood and Justified are nothing alike! Except for the smokin’-hot-sexiness. That is always present. :)
LEGS
(I mean, we all know it, but it needed to be said.)
Amen to that.
It can’t be reiterated enough. and my God, yes, Deadwood is SO good on LEGS.
Legs 4EVA.