A witch and a warlock teach an orphan boy how to becme a magician in The House with a Clock in its Walls, one of Cate Blanchett’s more curious film choices. We discuss her performance, what makes co-star Jack Black special on screen and briefly touch on the response to her two films on release. For this conversation Murtada welcomes filmmaker and podcaster Chels, from Untitled Cinema Gals to the podcast.
Contemporary actresses who played witches include Cher, Susan Sarandon, Michelle Pfeiffer(The Witches of Eastwick)Meryl Streep (Into the Woods), Anjelica Huston (The Witches), Nicole Kidman and Sandra Bullock (Practical Magic), Tilda Swinton (The Chronicles of Narnia). Who’d win in a battle?
We celebrate the annoucement of Blanchett’s collaboration with Pedro Almodovar for an adaptation of Lucia Berlin’s A Manual for Cleaning Women.
In the second of multiple episodes about Carol (2015), the topic is the cultural impact the film had on queer people. From memes to comedy routines, Carol was adored. For this conversation, Murtada welcomes writer and film programmer Shayna Maci Warner of Critically Queer, to review the film and talk about its queer legacy.
There’s a comet hurtling towards earth and a bunch of movie stars at trying to not look up at it. To discuss Cate Blanchett’s second movie this holiday season -Adam McKay’s climate change satire Don’t Look Up– Murtada welcomes critic Boyd van Hoeij from The Film Verdict to the podcast.
Don’t Look Up is being sold as a cross between Dr Strangelove and Network. Are the similies spot on?
The targets of the satire – incompetent governments, media, tech billionaires, populace believing in politics not science – are obvious. There’s a shorthand that makes each character’s real world avatar easy to get hence the laughs but does that undermine the film’s intelligence?
Huge cast – Leonardo DiCaprio, Meryl Streep, Jennifer Lawrence, Rob Morgan, Tyler Perry, Jonah Hill, Ariana Grande, Mark Rylance, Timothée Chalamet… and more? Who’s funny? Who’s annoying? Who’s unmemorable? Who brought the heart and pathos? Who stands out?
Leo’s big Peter Finch-like monologue. Does it work?
In the first of multiple episodes about Carol (2015), the topic is the love story. How Therese and Carol fell in love, how Todd Haynes visualizes falling in love and the scorching chemistry between Cate Blanchett and Rooney Mara. For this conversation, Murtada welcomes filmmaker Luke Willis, to discuss all the above as well as rank the best line reading uttered by Blanchett.
Cate Blanchett is back in cinemas this holiday season. And the podcast is back for a final season of episodes. We kick things off with the first of the two Cate movies coming out this month, Guillermo del Toro’s Nightmare Alley. For this conversation Murtada welcomes film critic Leila Latif, to discuss the film, how it differs from 1947 version, and the performances of Cate as a femme fatale, Rooney Mara, Bradley Cooper and Toni Colette.
Early on in Being the Ricardos the cast and crew of I Love Lucy are assembled for a table read of an episode of the show. It’s sometime in 1952. Something is off, they can’t land the jokes. Is it the writing? The actors? The film takes a jump into Lucille Ball’s head. She starts to imagine the show alive. And with that she’s able to pinpoint what’s off and of course fix it. This must be a film about Ball’s creative process? Alas that was a brief interlude, though it’s repeated a couple more times, how Ball (Nicole Kidman) creates or how her show is conceived are not top of mind for writer/director Aaron Sorkin. Instead he’s concerned with Ball being accused of communism, of how the show deals with her second pregnancy and if her husband and creative partner Desi Arnaz Jr (Javier Bardem) is faithful in their marriage.
The film takes place during one production week of I Love Lucy, or as the logline puts it “from Monday table read through Friday audience taping.” Somewhat entertaining, Being the Ricardos plays well as a behind the scenes look at I Love Lucy. Then it starts cramming a few too many plots into its “one week with Lucy” premise. The aforementioned fractured marriage even comes replete with flashbacks about how they met and fell in love. The second pregnancy subplot comes with stock characters representing the network and advertisers. We will deal with Lucy’s involvement with HUAC – The House Committee on Un-American Activities – later in this review. All seemingly interesting subplots. However each is peripherally introduced, quickly dealt with and neatly resolved. There’s no nuance, no complexity to any of it. Nothing grips the audience or resonates.
Most unforgivable from a seasoned screenwriter is an awkward framing device. Three writers from the show are shown in a present day setting introducing and commenting on the main action. This is a dramatic cop out for Sorkin. He can’t coherently bring together the different strands of his screenplay so he utilizes this lazy concept to make it make sense.
Kidman is known for her inconsistent accents. She always sounds Australian with a Los Angeles affectation, no matter where her character is supposed to be from. Whether Russian (the recent Hulu show Nine Perfect Strangers) or American (Big Little Lies and many others throughout her career). Here the accent is good for once and she dropped her voice an octave or two to mimic Ball’s. However beyond the voice work, her performance is subdued and remains at an emotional remove. Maybe it’s because Ball is mostly shown at work; a place where emotions are checked. However when playing one of the most animated people in the history of entertainment, a little passion is called for.
Bardem brings charm and effervescence to the film. With his performance you understand why Arnaz was a popular entertainer. Unlike Kidman. However both performances are only skin deep and do not grapple with why Lucy and Desi’s fracturced marriage endured as long as it did. We get neither the attraction nor the competitive nature of their relationship that the script is harping about.
Kidman fares better with the sweet mentoring relationship Ball has with a writer played by Alia Shawkat. Acknowledging that even though they are from different generations and have different takes on how to use their voices as women in the workplace, they got each other’s back. Maybe more of that Sorkin.
The script is uneven and broad. This could be any workplace in the 1950s. None of the dilemmas and interactions are specific enough despite the constant name dropping. Sorkin’s dialogue cadence is also played out at this point. Why do Lucille Ball, Steve Jobs and the fictional denizens of The West Wing all speak in the same back and forth repetitive cadence? It makes all of Sorkin’s work sound the same. As a director he brings no panache and no point of view, we never get a sense of the story in the way he frames the actors. It’s just mid shot to close up to wide shot, rinse and repeat. No rhythm or sense of drama. He’s also saddled with shoddy looking CGI on Kidman and Bardem in the flashbacks as the younger Lucy and Desi.
Most unforgivable is the coda that resolves the “red scare” subplot. You may skip this if you do not want to be spoiled. Before the taping the show, Arnaz calls J Edgar Hoover to prove Ball is not a communist and then the studio audience watching literally applauds Hoover. It is such an odd note that I’m still reeling from it. The film is asking us to admire Hoover for coming to Ball’s rescue. But it raises so many questions. Did she actually need to be rescued? From what exactly? How are we supposed to feel by this resolution that implies that HUAC was actually a good thing that happened to Ball when we know – FROM HISTORY – it ruined many lives and McCarthysim became a shorthand for fear, biased accusations and unhinged governmental power. Sorkin, you got some explaining to do.
Being the Ricardos is in theaters this Friday December 10 and on Prime Video December 21.
About the hundredth time characters in Mike Mills’ C’mon C’mon expressed themselves clearly and verbosely and said exactly how they were feeling at that moment, I almost lost it. Who has this clarity? Who can articulate their feelings so eloquently at every waking moment of their lives? Who are these people? They must be aliens from an alternate universe of never ending therapy sessions. These people have done the work and figured themselves out. Even the 10 year old kid. Movies are not real, I understand that. Yet this is one that wants to be taken as reality, while not realizing what a fantastical world it has built. And a false one at that.
The film stars Joaquin Phoenix as Johnny, a radio talk show host who’s making a documentary about what children think of the future. He’s going around the country interviewing young people when his sister Viv (Gaby Hoffman), asks him to take care of her child, Jesse (Woody Norman). She has to leave town to deal with the child’s father (Scoot McNairy), who’s in the grips of a manic episode. Obviously uncle and nephew will make a deep connection. Though tentatively at first, perhaps running into some misunderstandings. Yelling, tears and laughter will be involved. And if you guessed Jesse will be interviewed for his uncle’s program and make a profound statement, then you’ve hit the jackpot.
Yet none of the events that happen on screen feel real. Interspersed through the main narrative are the interviews Johnny conducts with kids in LA, New York and New Orleans. I guessed we were supposed to feel the anxiety of the next generation and their hopes. I said I guessed because what was on screen was merely false platitudes that rang hollow. The exception is one young person speaking about losing faith in the adults who are supposed to help but can’t.
In flashback we see Johnny and Viv taking care of their late ailing mother. Again we are supposed to understand the enormous grief and the years of pent up frustration between the siblings. But because they keep telling us in the present how they were feeling at the time, it doesn’t make the impact Mills hopes for. The last straw for me was using the oldest trick in the book; the precocious child who asks the “difficult” questions. Boy did I roll my eyes. Cheap and teetering on insufferable.
The black and white cinematography gives the audience something nice to look at while watching what’s inherently not a cinematic story. It’s mostly people on the phone talking about their feelings. The cast acquits themselves well, especially when you consider they are tasked with being in constant open wound mode. This a more relaxed Phoenix, reminiscent of his work in Her (2013) and miles away from Joker (2019). Hoffman has to play 90% of her scenes talking into an iphone, maybe Mills is trying to make a point about how we communicate today or something. Wish he could’ve varied the technology so we could see Hoffman in more than just the one mode. Though all the actors try their hardest to bring empathy to their characters; something was missing. Like what Annette Bening was able to do in Mills’ previous film 20th Century Women (2016); add a dose of no nonsense to the saccharine proceedings.
C’mon C’mon played the Spotlight section at the 59th NewYork Film Festival and will be released on November 19th.
Early on in The United States vs. Billie Holiday, two fans from Baltimore on a trip to the big city, visit backstage at Cafe Society with the legendary singer (Andra Day in a star making debut performance). There’s wonder in the small talk they share, the awe they show her. She invites them to sip champagne and everyone in the room – including her entourage of husband-manger, dresser and assistant – talk about where in Baltimore they are from. We get to know what Holiday meant to Black people in America at that time; the late 1940s. And we know that she understood that and took her responsibility seriously. I smiled and settled in thinking “this is gonna be good.” Biopics rarely examine why celebrities mean so much to us. Alas it was not to be. That was it about Holiday’s giant place in Black people’s hearts in this country.
A good biopic is usually one that has a few revelatory insights about the life it’s trying to depict. Or is telling the story of a particularly interesting moment in that life. Cradle to grave biopics don’t work and filmmakers have mostly stopped making those. Director Lee Daniels and screenwriter Suzan-Lori Parks – adapting the book by Johann Hari – have that particular story they want to tell. They chose the time in Holiday’s life when the FBI was trying to frame her for narcotics because they couldn’t stop her singing the wrenching ballad Strange Fruit. That song tells the story of a lynching in vivid detail and was a rallying cry for Black people fighting for equality at that time.
Unfortunately choosing to tell this story means that the film spends a lot of its running time focusing on Jimmy Fletcher (Trevante Rhodes), an undercover FBI agent who framed Holiday and eventually fell in love with her. The way they carried on their affair while Holiday was touring America and trying to kick her heroin addiction could’ve made for an interesting film. But the love affair doesn’t hold the audience’s attention. We never understand why Holiday liked Fletcher, except perhaps because he lookes like Rhodes. But there’s no heat. There’s more heat in Day’s scenes with Tone Bell who plays her abusive manager / boyfriend Joe Levy.
This is such a disservice to Day who gives a wondrous and fully committed performance. Lowering her voice to mimic Holiday’s gravely talking voice and changing her singing register to perform the songs, she’s never anything less than mesmerizing. Whether she’s on stage as Holiday singing or showing us the toll of heroin and abuse on her body, she knocks it out of the park. This is one of those instances when a first time actor finds a role that fits them like a glove and immediately becomes a star with the promise of years of spellbinding performances.
In choosing to center their story around Strange Fruit, Daniels and Parks know they need to withhold the song until just the right moment. However by the time we get there we have seen so many repetitively staged and edited scenes of Holiday singing that it loses some of its heft. Still Day delivers it beautifully and ensures it doesn’t lose any of its allure giving us a moving and enthralling moment. The song is preceded by a long winding scene in which a crane camera follows Day around through the big moments from Holiday’s life that led her to Strange Fruit. It’s brilliant and I loved it and snapped to attention recognizing this as a Lee Daniels film.
Daniels is a true auteur. There’s no mistaking his recognizable stamp on any film he makes. His filmmaking thrives in chaos. You’d think a story this sweeping, a personality this hypnotizing will play to his strengths. Instead of the enthralling chaos he gave us in Precious (2009) The Paperboy (2012) or even The Butler (2013) what we get here is haphazard storytelling. Only once in a while – like the scene mentioned above – does his brilliant chaotic filmmaking appear. Some scenes are strong, some are casually tossed off as if no director was present. Day is out of this world great but some of the other performances, from good actors with proven records – Rhodes and Natasha Lyonne as Tallulah Bankhead – feel like their worst takes made it to the finished film. While others – particularly Miss Lawrence and Da’Vine Joy Randolph – benefit from playing opposite Day and conjure easy rapport with her, elevating their scenes.
The United States vs. Billie Holiday has talent with pedigree behind it and a fascinating icon at its center, but the result is not up to par. Still I wholeheartedly recommend it because Day’s performance needs to be seen and cherished.
The United States vs. Billie Holiday will stream on Hulu starting Friday February 26th.
We first meet Frances Price (Michelle Pfeiffer) in her huge Upper East Side mansion. The brown wood and the enormous space she lives in indicates immediately how wealthy and insular she is. Her son Malcolm (Lucas Hedges) and his girlfriend (Imogen Poots) announce their engagement to each other but are afraid to tell Frances. Another indication that Frances might not be the easiest person to deal with. And when a few scenes later she calls her lawyer a pig in French to his face, making sure he knows it and she gets away with it, the characterization is complete.
The lawyer was telling Frances that her wealth is no more. She’s forced to accept a friend’s offer of a free apartment in Paris. Across the ocean she and Malcolm go, bringing along their cat Little Frank, named after her dead husband. She plans to live in Paris as long as her money lasts which by the way she spends won’t be that long. The filmmakers behind French Exit, screenwriter Patrick DeWitt adapting his novel and director Azazel Jacob, understand that these insular privileged characters would be odd. They would act idiosyncratically, they would be unknowingly rude, they would not have a concept for how much anything costs. They live in their own world. So when the cat starts talking – in the voice of Tracy Letts – you go with it. Looking at them with any real world framework or rule book is a futile task. You might as well turn off the movie.
But Azazel also understands how perilous Frances’ situation is. So while the tone of the film is arch allowing the audience to laugh and enjoy how rude and cruel Frances can be. He also knows that he needs an actress to bring out the loneliness of Frances and he hit the jackpot in casting Pfeiffer who follows the film’s tone to a point. As we go along she slowly starts peeling off the affect, to show us the melancholic undertones of Frances. That’s when the performance finds its apex.
In Paris Frances and Malcolm start collecting a few eccentric friends, building a sorta family. There’s a sad widow (Valerie Mahaffey) who’s very enamored with Frances. A fortune teller (Danielle MacDonald) who sleeps with Malcolm. A soft spoken private investigator (Isaach De Bankole) who’s tasked with finding Little Frank when he runs away. Each of these characters brings another offbeat comedic note that provides levity but doesn’t add much to this quirky world we are watching besides showing us how isolated Frances increasingly becomes. She can’t make real connections, they have to be strange like her or she has to buy their companionship.
Hedges plays Malcolm with limited expressions of exasperation and despondensy. You don’t understand why these two women would be attracted to him. We only get faint glimmers of the rich boy’s insouciance that could be what attracted them. But it doesn’t matter, the real showstopper here is Pfeiffer. She’s the reason to watch. She could have played this role like an imperious 1940s Bette Davis character; a Regina Giddens (The Little Foxes) or Fanny Skeffington (Mr. Skeffington). All haughty gestures and clipped tones. Perhaps that would have made it more memorable. It certainly would have made it more gif-able, more fun and catnip to awards bodies. But Pfeiffer is getting at something more interesting than paying homage to a proven screen persona. That would be expected, instead she’s interested in locating a center of sorrow and regret that drives this woman. She even recedes to the background in group scenes and lets Mahaffey steal their scenes together. She’s staying true to Frances’ nature, a rich woman used to having lots of space between her and others. A woman who can’t be bothered to react to people except with dismissal until she is forced to face reality. This is most evident in a heartbreaking scene where Frances acknowledges that her life is riddled by cliches.
French Exit is a film to savor and bask in. There are no immediate takeaways or blazing memorable scenes or even a loud performance to start a conversation. These are not characters you fall in love with or want to spend lots of time with. It’s not a film that elicits a definitive opinion right after it ends. However a few days later I keep thinking about it.
French Exit screened as the closing night selection of this year’s New York Film Festival will be released in February 2021.
Once in a while a film comes along where the filmmaker has made every right choice. As I was watching Garrett Bradley’s Time I kept nodding my head. Of course black and white was the right choice to tell the story merging archival footage with new footage. Of course you plunge the audience into the story without talking heads or time markations. And most of all of course that’s how you end to achieve catharsis.
Let’s back up a little, I’m getting ahead of myself. A chronicle of the life of Fox Rich, an activist and mother of six boys, Time tells the story of a family and the grave injustice of a broken system. Rich’s husband Rob is serving a 60 year sentence for a robbery they both committed in the 1990s. She got out after serving more than 3 years and for the last 20 year has been trying to get him out while raising their family. At the same time she’s been documenting her life and her kids’ for Rob.
Bradley seamlessly integrates Rich’s video diaries with what she shot of her 19 years after the robbery. We are never sure when the diaries end and the newly shot footage starts. Just like time, an endless loop of memories filled with both heartache and joy. The black and white photography makes Time more mesmerizing and adds poignancy and heft to the story.
This is a story ostensibly about Black suffering. The sentence that Rob gets does not equal the crime he committed in a moment of desperation. Rich knows this is a system continuing the enslavement of Black people and rightfully declares herself an abolitionist. What’s on screen though is not the suffering of this family. But rather the resilience, the fight and the hope. That’s what makes Time sublime. It gets to the bone of its message without hammering it through. It’s a gentle poke of a movie achieving catharsis with the cumulative emotions it elicits by the end. We get there because Bradley deftly uses all her arsenal as a filmmaker to show the cost and the toll it takes for this family to have a moment of peace.
Time will be available on Amazon Prime on October 16th.