2009 in Review: 25 Scenes (Ep. 1)

I like to rethink my favourite parts of films as the year ends. Of course it’s a work in progress. Quite often a favourite does not mean that said film is my favourite and sometimes it does. It’s the moment of the film you remember most, the scene that makes you shed a tear or makes you laugh…the scene that brings my nostalgic memories or worry for the future. It’s the power of films as such. So I’m unveiling my 25 scenes of 2009. I did not include openings or endings because they often serve a completely different purpose, maybe I’ll recap my favourite of each later, perhaps. I can’t say. I tried as much to prevent repeats, but I couldn’t. The fifteen runners up will be listed in alphabetical order and then the top ten by favouritism. It’s purely subjective though, so bear with me.

   

[Click on the links for my reviews]

     

500 Days of Summer: “Just Friends”

I know quite a few were bowled over by this, and I suppose there were many more obviously funny or romantic scenes that I could have chosen – the greeting card moments come to mind, but this is the single moment of 500 Days of Summer that I carried in my memory after seeing it. The preamble of it begins at a club as a persistent patron asks to buy Summer a drink. Tom gallantly gets into a fist fight and he is nonplussed when Summer is miffed on their return home. She grimly responds that they’re just friends when Levitt gives his best scene. His response is so real and so emotional as he leaves – it’s the most poignant part of the film.

     

Brothers: “The Second Dinner”

MaGuire’s breakdown as the end was a contender but the film finest scene occurs with the ensemble present as they all gather for Maggie’s birthday. Sam is already on edge and the tension is palpable.Isabelle opens the door to see her Uncle there with his new date, and she’s already upset. Grace can feel something is amiss and Izzie just keeps pushing it further and further. Sam keeps telling her to stop playing with the balloon with leads to her (fraudulent) claim – you’re just mad because Mom would rather sleep with Uncle Tommy than you. It’s piercing, it’s surprising and it’s incredibly memorable. I love Jake’s reaction as he looks down, as if disappointed and Natalie’s Grace is not so much aghast as saddened and of course Tobey and his perpetual look of bewilderment. A wonderfully directed scene.

    

Duplicity: “Getting A Copy of the Plan”

Duplicity thrives on the mystery, and that ridiculous hair growth scheme. My favourite part occurs when Julia’s Claire must find the blueprints and fax it to her allies in the dead of night. The fine editing is in place and Julia, Clive and the rest of the ensemble do fine work – considering that many of them are already lying to begin. Gilroy knows how to up the adrenaline and he does it here, pulling out all the stops.

     

An Education: “An Important Loss”

This scene is just a tidbit, but it stands out. The tale of “Mr. Rochester” has travelled to The Head Mistress, whose office Jenny is called to. It’s a monologue really, and Emma sells it completely – “There may well have been the odd sixth form girl who has lost an important part of herself – perhaps the best part – while under our supervision. These things happen, regrettably. If however we are made aware of this loss, then of course the young lady in question would have to continue her studies elsewhere, if she still has any use for A-Levels. Is that clear?” It is perfection.

    

Harry Potter & the Half Blood Prince: “The First Horcrux – The Cave”

It’s one of the most chilling parts of the novel and it translates well to screen. Gambon and even Radcliffe sell the emotional weight of the scene and it is sooooo beautiful to look at. The mosaic image is palpable; the cinemotgraphy is enchanting the visual effects are always subtle but never underwhelming. The finest part of an already good film.

   

The Hurt Locker: “A Suicide Bomber”

The scenes don’t seem to have a specific beginning or end, though I did appreciate the cameo of the always wonderful Ralph Fiennes, but the film makes it point in when a suicide bomber enters the picture. Jeremy Renner’s guilt as he’s unable to defuse the bomb is potent and the tension is built up so heavily. It’s a powerful scene.

     

In the Loop: “First Press Conference”

This another film with continuous pieces of brilliance, the one that stands out is the first press conference as a self conscious Tom Hollander all but sinks his career. It’s the first time we see the wonderful Mimi Kennedy (who I cannot stop singing praises to) and the diffidence of Hollander and the obvious humour of the situation cannot be ignored. Such an uncomfortable moment for the characters, such a lovely moment for the audiene.

       

The Lovely Bones: “Finding the Evidence”

I didn’t expect this to be my favourite of the film, but weeks after it’s the one that I remember vividly. Susie’s sister enters Harvey’s house to find important evidence. The screen is taut with tension and shot by shot Jackson keeps up hooked. It’s also a strong moment for Tucci who sells his character without words. What thrill ride.

     

Nine: “Be Italian”

Need I go on? It's more than the hook being catch, because it's not my favourite song. But the choreography is sensational, the imagery is lovely, the sand in the tambourines, the dancing whores. It's a number that completely satisfies.

    

Precious: “The First Class”

Precious soars highest when it comes down to the simple things, like Each One, Teach One. The chemistry of the girls is lovely to watch and Paula Patton oversees it all with such candour. I love Jo Ann’s colour choice – fluorescent beige and I love Gabourey’s delivery here – so blunt, and yet a little shy – I can cook. If only the entire film could have felt so sure of itself.

     

The Princess & the Frog: “Almost There”

It’s the token “I want” solo number [Part of this World, Belle, Reflections] and Anika owns it with those vocals, and of course the design is beautiful too.

      

The Road: “Goodbye, Wife”

I really wish Charlize had more to work with in The Road, she’s phenomenal with her slight role. Her departure from the film is heart-rending and I love Viggo’s reaction. It’s the saddest moment of the film, which is strange considering it’s all rather depressing.

     

A Serious Man: “This is not about woopsy-doopsy.”

I didn’t like this much, but it has one of the best scenes this year, when Judith asks for a divorce I thought the Coens’ were on to something. The dialogue here is brilliant.

Judith: Sy and I have become very close…. In short: I think it’s time we start talking about a divorce.

Larry: Sy Ableman.

Judith: This is not about Sy.

Larry: You mentioned Sy.

It all leads to one of my favourite lines this year “I haven’t done anything. This is not some flashy thing. This is not about woopsy-doopsy." I am so going to use that in a conversation some time.

    

A Single Man: “Dancing”

I’ve told you before I was very impressed with Ms. Moore’s bit role in A Single Man, and of course she’s in a favourite scene of mine. As she and Colin dance it’s a really lovely moment in the film (though I suppose it’s not as important as some of the more obvious ones) still, the scene and the subsequent confessions is just sublime in my eyes. Perfection.

     

Where the Wild Things Are: “Meeting the Wild Things”

Whatever it’s errors Jonze captures the wonder of this other world brilliantly. Max's meeting with the wild things is funny, and sweet and magical all at once. It's also a surprisingly strong acting moment for Records who meanders through brilliance and mediocrity for me. Of course Catherine O’Hara’s Judith is a good source of laughter here already setting the pace for her excellent voice work to come.
      

So these are the fifteen runners up, tomorrow I’ll be back with my ten favourite scenes of the year from 9 good films. Interestingly enough one of the films listed there isn’t even in my top twenty, but you’ll see tomorrow.

2009 in Review: Growing Older…

It’s not regarded as a specific genre in and of itself, but it’s always interesting to note how many films tackle that “taboo” subject of growing old. Not coming age as from childhood to maturity, but the (sometimes sudden) realisation that death is imminent, dreams will not be attained and life is not what you wished it would be. It often becomes a question of our mortality. Stephen Frears Chéri is the ultimate example of being disillusioned about growing older, since the subject is that of the aging courtesan Lea de Lonval (played by a magnificent Michelle Pfeiffer). It’s a film that deserved more than it got, I for one was a fan – my review. Lea is growing older and realises that her treasures may not be as…valuable as they once were. The romance she thrusts herself into with the eponymous Chéri is pathetic, funny and poignant all at once and of course that (now notorious) final look in the camera tells more about the old enemy time than quite a few have tried in their entire duration.

The concept of age was a major theme in 17 Again, a surprisingly enjoyable comedy starring (who’d have imagined) Zac Efron. Matthew Perry’s Mike after realising the lack of mobility in his job that his golden years are long gone, and as we all do when the time comes, he yearns for the (assumed) simplicity of his youth. Of course the wrap-up is just a bit too tidy, but he learns in the process that we can never really outrun our problems, no matter how we try. It’s something I wonder if Clooney’s Ryan Bingham was considering. I really couldn’t buy into Up in the Air, the all too pithy scenarios felt much too clinical for me to believe. It’s not to say that Ryan’s epiphany is impossible, so many have probably gone through such a midlife crises but despite it’s numerous faults 17 Again spends its entirety trying to make us buy a change in Mike's temperament, so that when it comes – as tidy as it is – we are inclined to believe. On the other hand with Up in the Air, though I believe it could have happened I was not given any incentive  to believe it did. A wedding does not a marriage make and as epiphanies come they are sudden but there’s always an underlying rationale or raison d’être which continues to elude me when it comes to Clonney's Ryan.

I wonder where Larry David’s Boris from Whatever Works would fit into this equation. I suppose Whatever Works is Woody slumming it, but Woody slumming is better than many “excelling”. Still, Whatever Works – as I’ve noted – is not perfect. For the most part, the troubles begin (and end) with David. He’s not the lovable old geezer that we’ve come to expect and require in Woodyland. He’s all too abrasive. But Whatever Works manages to work where Up in the Air doesn’t because Whatever Works has the sense to realise that Boris is not the beginning and end of the narrative. The supporting characters essentially hijack the third act (for the better).

        

The only thing our other two women Robin Wright Penn’s Pippa Lee and Meryl Streep’s Jane have in common is a daughter played to perfect irritation by the exasperating Zoe Kazan. But then, I’m being too stingy. They both are juggling two men, even if they don’t realise. I wonder what Pippa would say to Jane. Pippa’s husband like Meryl’s ex has an indiscretion with a younger woman. But Winona Ryder is nowhere as savvy (or cutthroat) like Meryl’s foil the lovely Agnes. The Private Lives of Pippa Lee did impress me more, even if it is more of a guilty pleasure type. However despite the review, the first two thirds are quite good. I realise too, that both films depend completely on their leading ladies. Both come to grips with their age, although it is harsher for Pippa considering that she’s no where as exciting as she was in her youths. They both may be juggling two men, but she’s not a bit of slut, but then neither is Jane for that matter. The real slut would have to be Lea, and that’s purely for professional reasons.

   

The two films which were so easily confused last year A Serious Man and A Single Man. The latter obviously trumps the former for me. Although I’m not acutely certain that either man is really dealing with midlife crises. Both men are teachers; that’s about as far as their similarities go. Larry is the epitomical good guy who bad things happen to, but so is George. Larry looks to religion and George looks to death. I’m not sure either of them finds complete fulfilment. But then again, who does?

       

At the end of the day Lea’s mirror gaze haunts me the most; but which battle with age leaves you must satisfied…cinematically speaking? 

         

PS. This is the last of the 2009 in Reviews...unless there's a category I've forgotten...

Musings On A Serious Man

Someone, who I cannot recall, commented to the chagrin of the majority that A Serious Man was a film for Jews only. I wouldn’t make that claim, as much as I would say that knowledge of the Jews would probably increase you’re appreciation of the piece. In Guyana the religious spectrum is almost evenly divided among Christians, Muslims and Hindus. To my knowledge, I’ve never met a Jew. So my knowledge of the Jews is minimal at best. I say this preamble because watching A Serious Man I couldn’t help feeling that I was missing something that would illuminate the entire film and show some wisdom that the Coen’s were attempting to imbue to the film. But, alas, I can’t be certain what that something is, or even if there is a veritable anything that I was missing form the narrative.

On a superficial level, A Serious Man is competent. Michael Stuhlberg plays our hero [?] college Physics teacher with some serious issues, both professionally and domestically. I can’t fault Stuhlberg, even though I feel that he’s been written into a sort of box. There doesn’t seem to be any significant character arc that the Coens’ have written for him, so it all feels feel rather pointless after the fact, which is not an unnatural feeling after any Coen film. I always feel like their intent is always to make us leave their films thinking “what just happened”. Sometimes it serves the plot, but I just wonder if A Serious Man may have been more successful it had a little more structure. I wish the Coen’s would have done a movie instead of trying to make some [existentialist? Jewish?] point.

                

I’m hitting an impasse trying to write about this film. I wish I could have loved Stuhlbarg physics' professor a bit more, and I wish that Sari Lennick would have been given a real role instead of being relegated to mere prop device - she's sensational at times. I really wanted to at least appreciate it for its merits but it all ends up feeling slightly clunky to me.

C

                    

POST SCRIPT

I wrote the above early January which was a few weeks after actually seeing A Serious Man. Since, I've heard the "explanation" that it's a Jewish account of the Book of Job which only annoys me even more - parallels are there. The issue with the Coen's is that the don't seem to take anything seriously and at the end of the day I look Larry not even with empathy, or sympathy but just exasperation. Perhaps, a C+ in retrospect...then again, no.