2010 in Review: Filial Love

The entirety of Conviction depends on us believing that Betty Anne Waters is so devoted to her brother that she spend her life studying to get him out of prison. In theory, it seems like something any sibling would do, but it’s a special sort of devotion and though Sam Rockwell’s charisma suggests that he’s the type of rebel that people want to help I hate that Goldwyn does a disservice to his story by providing us with a stronger clarification for that arc. The occasional flashbacks touching on them as children don’t suffice, although I give him (grudging) credit for it. And, it’s not that he errs in not devoting enough time to it – it’s just one of the (many) ways that Conviction doesn’t sell itself as a cinematic entity. Compare that relationship to Becca and Izzy in Rabbit Hole. That relationship isn’t at the forefront of the film, but in two short scenes Lindsay-Abaire and Mitchell give us the strengths and weaknesses in that liaison – of course, buoyed by the good work being done by Blanchard and Kidman (more on Tammy). Filial love is probably a disingenuous title for this article, though I’d intimate that in any sort of rapport between siblings could be traced back to filial love – let’s examine 2010’s crop.

One of the singular deficiencies in Animal Kingdom, which I’m even wary of calling an actual deficiency, is the relationship that J’s mother had with her siblings and mother. “Mum kept me away from her family” is striking in its vagueness, and Janine’s bit on why they stopped talking is obviously a smokescreen for something else – but what? I often found myself thinking what sort of a relationship she had with her brothers. It’s a bit difficult to extrapolate anything close to love among the three brothers. Craig, in his sincerity, grieves for Baz – but Baz isn’t a brother. And in that subdued scene where Darren and Pope prepare for the funeral the dejectedness seems less about grief for Craig and more of a general discontent with their lives. Aaron Johnson’s Graham – the eponymous Greatest of his film – dies and leaves a grieving family, and a wayward brother, and I feel a bit awful for not even mentioning Johnny Simmons as a semi-finalist for his work here. He’s still an actor learning the ways, but it’s interesting watching the way he decides to show grief for his brother.

        

Thandie Newton is all sorts of fabulous in For Colored Girls, and there’s an arc where she sees her sister (Tessa Thompson) heading down the same path as she did. Newton has always had a natural prickliness in her performances and that makes her work even more striking here as she responds not with sympathy but with a laugh at a key moment in the narrative. It’s the sort of bottling of emotions that defines most of the women in For Colored Girls, but Newton’s Tangie is especially dangerous because these emotions burst out at the strangest points. In a way, that way in which she cares for her sister by not caring is indicative of Dicky and Micky in The Fighter. I keep getting the urge to give The Fighter a new and more interesting title (The Family, Brothers) and the second one especially would suffice here. It’s not incidental that the very first image of the film is Dicky and Micky together, since it’s that relationship that functions as an impetus for every other plotpoint in the film. And by omission you could probably say the same of the sisterly rapport between Anne-Marie Duff and Kristin Scott Thomas in Nowhere Boy. It’s difficult to deny that the two women are golden opposite each other, and it’s wrong to hope they had more scenes to do so – it’s not their story. But Mimi’s attitude towards Julia (and by extension John) is a significant arc of the story.

           

One of my favourite running arcs in Scott Pilgrim vs the World is those phone calls Stacey makes to Scott in his lowest points. I still don’t buy Stacy as Scott’s little sister – but the chemistry between Kendrick and Cera sell what should be an example of a terrible sibling relationship, but in actuality is not really. And, I sort of don’t want to say that Bertie and Edward have an awful relationship in The King’s Speech though that significant moment at Edward’s party where Pearce so wonderfully imitates his stutter is almost horrific – not because of its teasing way, but because it’s so glibly done – as if it’s the usual way to treat Bertie (wish that arc could have been examined more). And then I think of The Kids Are All Right. Hutcherson and Wasikowska are so obviously on the same wavelength – another example of how brilliant this cast is. It’s difficult for me not to call them my favourite sibling relationship of the year even though they have few actual scenes together – those moments when they’ll catch each others’ eye across the table for a slight roll of the eyes underscores – perfectly, and promptly – that tenuous thing called filial love.

           

Any sibling pairings stood out as significant for you in 2010?

Encore Awards: Ensemble Acting

Sometimes I think people misunderstand the term ensemble acting – or perhaps, conversely, I place too much emphasis on it. Either way, there’s always a divide between me and the general populace. In the last decade or so, the biggest head-scratcher when it comes to singling out any cast for “ensemble” acting would be the win at the SAG for Sideways, my general apathy towards the film aside Sideways just seemed like the weirdest contender for an ensemble prize – even Inglourious Basterds, which I’m not especially fond of, makes sense because that film depends on that cast working in conjunction with each other. Ensemble acting is not just about getting great performances from a number of actors, it’s about seeing a group of actors acting together – in accordance with each other, something’s that’s not as simple or incidental as it would seem.

(click on the photos for reviews)

THE NOMINEES

Animal Kingdom: (Cast: James Frecheville, Ben Mendelsohn, Joel Edgerton, Guy Pearce, Luke Ford, Jacki Weaver, Sullivan Stapelton, Dan Wyllie, Anthony Hayes, Laura Wheelwright, Mirrah Foulkes)

 I sort of wish that Animal Kingdom would turn into a mini-series, because though Michod doesn’t exploit it there’s something brilliant about watching the family in their natural habitat just coexisting with each other. Even the smaller characters like Nicky’s entire family exist in the same fabric – all of them on the same wavelength with each other (the dinner at their house) or those two scenes in the coffee shop; one with Baz and one without, where everyone has their own reaction to give, no matter how understated.

For Colored Girls (Cast: Loretta Devine, Whoopi Goldberg, Macy Gray, Janet Jackson, Thandie Newton, Phylica Rashad, Anika Noni Rose, Tessa Thompson, Kerry Washington)

Perry doesn’t thrust the entire female ensemble together until the closing moments, but even within these separate stories we have ensembles at work – divided as they are. Phylicia Rishaad and Kerry Washington, as the watchers in the group are given the task of interacting with almost everyone – and Rishaad especially thrives on this slightly voyeuristic way. It’s such a rare thing to see an accomplished female ensemble playing opposite each other so those moments where Goldberg and Newton go at it, or Devine stops in for a chat with Jackson, simmer because even when Perry doesn’t know precisely which decision to take in procuring the right amount of (cinematic) drama, the cast is doing a brilliant job.

The Kids Are All Right (Cast: Annette Bening, Julianne Moore, Mark Ruffalo, Mia Waskikowska, Josh Hutcherson, Yaya DaCosta, Zosia Mamet, Kunal Sharma, Eddie Hassell)

The very essence of The Kid Are All Right depends on that quintet of actors working together, the first and final dinner scenes in the film work not only because of the writing and the direction but because every tangent of that pentagon works perfectly. And then, there are those actors on the sidelines – like Yaya DaCosta working opposite Ruffalo, or Mamet and Sharma opposite Wasikowska. All these actors in totality are imperative in establishing that suburban cacophony that defines The Kids Are All Right

Scott Pilgrim vs the World (Cast: Michael Cera, Mary Elizabeth Winstead, Ellen Wong, Kieran Culkin, Alison Pill, Johnny Simmons, Jason Schwartzman, Mae Whitman, Aubrey Plaza, Anna Kendrick, Brie Larson, Mark Webber, Chris Evans, Brandon Routh)

In theory, the ensemble of Scott Pilgrim vs the World should not feel as integrated as it does. It’s essentially a situation where Scott goes through the film fending off evil exes, belligerent “frenemies”, officious siblings and best-friends, morose band members and cloying girlfriends – and that’s just the half of it. But even though it seems like Cera’s doing the heavy lifting, Wright doesn’t shirk at opportunities for everyone to meet up with each other; like Knives and Ramona or Wallace and Stacey. Even if direct conversation is lacking between some branches, they all inhabit the same environment establishing a palpable uniformity in the performances.

The Social Network (Cast: Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Max Minghella, Rashida Jones, Armie Hammer, Rooney Mara, Brenda Song, Joseph Mazzello, Douglas Urbanski)

It would be wrong, not to mention a little seditious, to call The Social Network a courtroom drama, although – to some extent – it functions as one. The deposition scenes have the main players opposite a host of bit players all doing good work and as the story unfolds in flashbacks – noting the most “important” moments – everyone gets the opportunity to play the highs and though like with Scott Pilgrim vs the World they’re play opposite Eisenberg it doesn’t prevent them from playing opposite each other.

         

FINALISTS: Sometimes it seems like The Fighter doesn’t realise that it has an ensemble to play with, so they end up getting a bit marginalised at times – still, ultimately, when Russell realises the fun to be had in largeness of the cast things get exciting; The King’s Speech thrives on a cast that’s not getting as much love as it should – despite it’s one-man focus it really is an ensemble at heart, like seeing how many talented thespians can pop up and play opposite Firth; sort of the same way you’d think that Rabbit Hole is the Becca and Howie story, but there’s much good to be found on a larger scale – not just Wiest, Oh, Teller and Blanchard (all great) but those support group folks with their one scenes and that awesome realtor with the quirky facial expressions.

Which 2010 film stands out as a fine example of ensemble acting at its best, for you?

Encore Awards: Openings

Openings set the tone of the film; that much is obvious. Sometimes directors are able to use an effective opening and keep up the film in the same register – sometimes after a brilliant opening the rest of the film fails. A good film doesn’t need to have a good opening, gun to my head some the best openings of all time would be The Philadelphia Story – Cary and Kate’s silent spousal abuse. Last year my favourite opening was from Tony Gilroy’s very underrated comedy-thriller Duplicity which still thrills me whenever I think about the fun smartness of Duplicity (something that was lacking this year in film – no In the Loop, no Fantastic Mr. Fox). We had some great openings this year, and although none strike me as rich as Gilroy’s –they were quite brilliant in their own rite.

(Click on photos for reviews.)

THE NOMINEES

Black Swan directed by Darren Aronofsky starring Natalie Portman, Vincent Cassell, Mila Kunis, Barbara Hershey, Winona Ryder

In actuality I can’t say that in terms of necessity the opening really establishes anything, but it’s still gorgeous to watch. Perhaps, if I think closely the same preposterous sort of extraneousness that pervades the film begins here with this arresting but strange number. It works well in the context that turns Nina into a bit of a soothsayer, because she knows she’s going to be destroyed even before she really does know. It’s that sort of bizarreness that defines the film, throughout.

Brooklyn’s Finest directed by Antoine Fuqua starring Ethan Hawke, Richard Gere, Don Cheadle, Wesley Snipes, Jesse Williams

Vincent D’onforio’s cameo is a nice asset here, and this opening scene is one of Ethan’s finest. It’s the encapsulation of an antihero who’s side we can’t help but be on even when we know we shouldn’t. In a way, it sort of establishes one of the faults with Fuqua’s latest because he’s so very much intent on shocking us – but it works here, because in a few moments he establishes the desperation of (one of) our protagonists.

For Colored Girls directed by Tyler Perry with Kimberley Elise, Kerry Washington, Loretta Devine, Thandie Newton, Anika Noni Rose

Functionality aside, it’s the most beautiful opening of the year – it uses its dialogue as effectively as The Social Network, the cuts to the dancing are as beautiful as in Black Swan and the use of music is as striking as in The Deathly Hallows. But, it’s not just extraneous beauty – it’s making a point, too; it’s probably the sole portion where the stage conceits translate brilliantly to film. Yes, the film does dip in quality afterwards, but that doesn’t make it any less lovely.

        

Harry Potter & the Deathly Hallows directed by David Yates with Daniel Radcliffe,Emma Watson, Rupert Grint, Alan Rickman, Helena Bonham Carter

The film never reaches the quiet profundity of the opening again, which is a shame because that opening really is lovely. It’s one of the few times where creative team actually decides to do something original instead of adapting the book meticulously (to a fault). The score, the cinematography, and just the tired looks of the characters – it all just works, and in just a few short takes establishes the current situation.

The Social Network directed by David Fincher with Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Rashida Jones

At its best social network sites are about communication, and it’s not incidental that communication is a significant facet of The Social Network. Sorkin’s dialogue emerges as the obvious reason for this opening working, but there’s also much that’s not being said that’s being conveyed through the actors. I don’t find Mara as flawless as her biggest fans but she creates Erica not only in the context of Mark, but as someone both impressed and exasperated by his tics, so that we see the breakup coming before it does. (And of course the editing is flawless.

          

FINALIST: From the first moments of screen time I sort of fall in love with Scott Pilgrim vs the World.We’re immediately thrust into the madness of that mysterious place – Ontario, Canada; and it’s just so damned eclectic and arresting you can’t help but be charmed.

SEMI-FINALISTS: The American opens so subtly and even when that key surprise moment happens it’s still going along placidly. It’s the sort of minimalist approach that makes it laudable – even if I don’t love it; that long sequence that opens The King’s Speech seems a bit extraneous, but it’s one of those little things that I appreciate about what Hooper does with the story – never going where you’d expect to him to; Scorsese does some things that seem unlike his usual fare in Shutter Island and that opening is so obvious – but considering what comes after you have to think that that might be his point.

HONOURABLE MENTIONS: Get Low; Rabbit Hole; Somewhere; The Town

            

Which film this last year hooked you from its opening?

For Colored Girls

Tyler Perry’s latest, For Colored Girls, opens to a dancer (Anika Noni Rose) accompanied by a piano and violin. As the dance intensifies we hear snatches of a poem, narrated by each of the main women in the cast as we flash to them at small moments in their lives. It’s not a slight at the film that those five minutes are the most beautiful of it all because there is one inherent problem with For Colored Girls. It’s a musical, but it doesn’t have a score – only lyrics. Someone unfamiliar with Ntozake Shange’s original play would probably find the monologue-breaks jarring, but I’m inclined to think that For Colored Girls deserves the same suspension of belief we give to book-musicals where characters break out (injudiciously it seems, sometimes) into song. The very fact that Perry takes a collection of soliloquies and turns them into a cohesive drama is praiseworthy enough, but For Colored Girls manages to transcend his earlier work – unevenly, but still not without a payoff.

There’s always an issue with films that decide to tackle ensembles in the way that For Colored Girls attempts to. A group of unrelated people need to have a connection to make an ensemble work – sometimes the vignettes are broadly painted, I’m not a fan of Crash but I’ll admit that the linking of the stories is easily its strongest attribute. And for Tyler Perry, For Colored Girls could claim that strength too, for the most part. The segues in the first half work beautifully, as Anika Noni Rose’s dancer just happens to make a donation after receiving a pamphlet on religion from Whoopi Goldberg’s charlatan. It’s those light connections that make buoy the realism. The ironic thing is, as the film develops in the second half and the characters have reasons to interact the film begins to get a little disingenuous. The first half, the rising action, is beautifully orchestrated but there’s something about the fall that feels inadequate. The thing is, the screenplay is simultaneously responsible for helping the film and damaging it. But I’ll be Perry’s champion and say that it never reaches the depths of horror that he always ends up being connected with. It’s not praise to say that Perry is far from the worse director, but I have a feeling general prejudices prevents the average critic from seeing For Colored Girls with an unbiased vision. There are moments of uncertainty, but just as quickly as he’ll fall into a rote choice he’ll surprise you with something poignant.

But it’s the performances that are the true treasure of For Colored Girls. It makes you realise just how many talented black women are lacking roles. She doesn’t get the strongest role, and she doesn’t deliver the strongest performances but I was entranced by Anika Noni Rose who has such a winning charm that I’m confused as to why she’s not in more movies. Theatrical would be a word to describe her, and it makes me think of all the performances. For some reason theatrical has imprudently become a synonym for melodrama. Inaccurate. What’s more, theatrical doesn’t mean “bad”. For Colored Girls is theatrical – and so is life at times. The monologues reach greater importance because the voices of these women is literally what defines them. It’s no surprise then that Loretta Devine* with her potently “theatrical” (interpret it as you will) delivers the strongest monologue, even if her character is painted in the broadest strokes. That final scene is jarring, but like the entire film its root is in the women it portrays and there’s something about the melange of talent there that’s difficult to resist. It’s foolish to accuse For Colored Girls of seeing one side of the story when it immediately tells you it does. It’s not that movie is only for “colored girls”, but the story is theirs....and what a story it is.

B- (the Acting: A, the writing: B-, the direction, C/C+, MVP: Thandie Newton)

       

*A/N: I find it vaguely interesting that Loretta Devine played Lorrel Robinson in the Original Broadway Production of “Dreamgirls”, the role Anika Noni Rose recreated on film.