March Bloodstones: Mona Lisa Vito in My Cousin Vinny

I wasn’t certain how to end this semi-retrospective month on courageous cinematic woman. I wasn’t going for the typical Erin Brockoviches and Norma Raes (great courageous women, though) – and I decided I’d end up a lighter, but just as significant note. There really is nothing “courageous” about winning an Oscar – but I like to think that experiencing deep loathing by more than a few cinephiles for her “stolen” Oscar Marisa Tomei has managed to match the greatness of her first great performances once, twice and even thrice again. She’s a consummate supporting actress, and her scene stealing Mona Lisa Vito is a perfect encapsulation of the courageous female sidekick.

My Cousin Vinny is such a forgotten gem, one of those great nineties’ comedies that manages to retain its humour on multiple viewings. The fact that Mona is tagging along with Vinny for his foray into “real” always strikes me as evident as her tenacity. Marisa is so good at characterising her I can almost imagine a scene in New York where she’s doing another monologue at Vinny convincing him that she HAS to tag alone. She’s knows full well that he’s sort of an idiot, and she knows she’s smarter than he gives her credit for. She doesn’t care, though, she’s tagging along because she knows he needs her – complete with her scoffing glares at the town. I immediately love her from the line-reading “You’re famous for your mud?”

I feel a bit bad that my favourite scene of Marisa’s isn’t notable for her courage, but as soon as she starts talking about her biological clock in that outlandish, ferocious cat suit I cannot help but give her rapt attention.

Marisa is a terribly physical actress (watch her brilliant final scene in Before the Devil Knows You’re Dead) and having her unconfined and able to pace around is a reason that scene always pops. It’s comedy, garish at times and even in broad strokes but she keeps on managing to retain that sincerity which is so elusive in pieces like this.

We’re never absolutely certain what she sees in Vinny, but the way that she defends him always impresses. Not only in the context of her being a supportive spouse, but as silly as he is Mona casts her bets on him, but more than she actively ensures that he’s able to be successful. She’s the type of supporting girlfriend who doesn’t get pithy moments of expressing love often, but in those rare softer scene she still retains her individuality and strength, most importantly she never “dumbs” herself down for him.

                  

So, it’s as if we’re waiting for that brilliant cross-examination scene.

She’s so good with the rapid dialogue, and so brilliant against Pesci so as she literally shoots off the solution we think that even though the film is named for her man this movie is all about Mona Lisa....and that the thing about cinematic women of courage. When they appear on screen, it’s difficult to look at anyone else – least of all the men.
         
This marks the end of the Bloodstones of March who included:
Deanie Loomis in Splendor in the Grass
Margaret and Helen Schlegel in Howards End
Francine Evans in New York/New York
Shoshanna and Bridget von Hammersmark in Inglourious Basterds
Rita O’Grady, Lisa Hopkins and Barbara Castle in Made in Dagenham
Mona Lisa Vito in My Cousin Vinny
                
Am I the only one who loves Marisa's Mona Lisa?

What I Did Today...

Movie Meme, Day 2: A Movie More People Should See

I’d probably say that all the movies I like are films people should see more, but there are some movies that just don’t earn much money. Eventually classics reach cult status and their viewership increases exponentially as the years go by, but with recent film it’s a different ballgame. Give or take 2001 or 2010, I’d say that 2007 was probably the best year for films for the last decade. It sucks that one of the three best films from that year managed to go by with little notice, earning a mere 25 million at the box-office and racking up zero Oscar, BAFTA, Golden Globe or SAG Award nominations.

I’ve singled out the screenplay as one of the decade’s best as Ethan Hawke’s performance as one for the decade too. And really, the movie’s that good. Two deadbeat brothers (one more obviously deadbeat than the other) hatch a misguided plan to rob a jewellery that leads to such tragedy that calling it a melodrama would just be mean. Before the Devil Knows You’re Dead is a film so tautly created that I respect it as much as I love it. Sidney Lumet has a knack for becoming second fiddle in his films. He’s always doing such a good job of making his actors shine that I forget he’s the one helming them. The thing is, though the actors shine here, it’s Lumet who defines the brilliance in Before the Devil Knows You’re Dead. He’s always been known for his almost painstaking love for realism and the film is handled so brilliantly. Yes, everyone was going wild for the other bit of visceral directing that year, and sure I was going wild for that period flick but Sidney Lumet was so obviously head and shoulders above all other directors that year. It really does suck that he’s never been Oscared…

I’ll praise the brilliance that is Ethan Hawke to my grave, but it’s unfortunate that so few get to enjoy him in this – which is probably his best performance. Speaking of which, this is probably the best work from Phillip Seymour Hoffman too. Unless you’ve been in jail for the last ten years (or living in a cave) you’d know that Hoffman singlehandedly ruled the latter half of the decade. Add that to the fact that Albert Finney, one of the legendary greats, turns in a tour-de-force performance as their father and that Marisa Tomei’s woman-in-the-middle turn is even better than her excellent turns in In the Bedroom and The Wrestler and add that to the fact that Oscar nominees Amy Ryan and Michael Shannon give brilliant cameos and you’re probably wonder why you’ve never heard of this film…

Kelly Masterson (the screenwriter) is a cruel mistress. To say that Before the Devil Knows You’re Dead doesn’t give a damn about its implications is a gross understatement. It keeps on surprising you at every turn, though it’s never for the “shock” factor and always in service of the excellent script. I’m a little in love with it in all its delicious irreverence and lewdness, and though it’s not one that will appeal to all it deserves to be seen just because it’s that good. It’s easily one of the twenty five best films of the last decade…and definitely one that more people should see. Have you seen it?

      

And the MEME continues…this is actually easier than I anticipated…

Performances of the Decade (Male)

Some actors are just easily forgotten. It matters not whether they land a leading role or a plum supporting part; it seems that they just end up being pushed to the sidelines. It becomes even more difficult when the film you’re starring in becomes forgotten too. I’ve long been a fan of this actor. He’s a favourite of mine actually, and this performance represents the pinnacle of that appreciation.

          

#3 Ethan Hawke in Before the Devil Knows You’re Dead (2007)

I’m not sure if Hank, or anyone in the film, is as morally corrupt as the narrative suggests. Sure, after some cajoling he agrees to rob his parents’ store with his brother, and sure he’s involved in an illicit affair with said brother’s wife, and yes he does make off with quite a large sum of money while his family is destroyed. Still, I’m never moved to indict him. Ethan has a sort of naïveté that when riddled with his adult whimsies only make him more pathetic. Because, like Hank is emotionally stunted. We see it as he lets his brother rules him, as he clings – almost manically to Tomei’s Gina and as he gives in to his desires as the film ends.

Marisa Tomei may be playing Philip Seymour Hoffman’s wife (and the two do play well off each other) but I really love the scenes she shares with Ethan Hawke. In a film that’s wrought with the dubious for a few moments I’m actually willing to believe that these two could have something special. The thing is, with Hawke’s Hank (yay for my alliterative tendencies) how sure can you be if it’s love, infatuation or need? As we see the final shot of him running off with the stolen cash I wonder if he’s going to find Gina…probably not. But Hank isn’t a bad guy. The film is morally corrupted, but the characters aren’t beyond redemption. As his ex-wife (an in form Amy Ryan) harangues him for the money he owes we never turn on Hank. He really does want to be a devoted father, he just lacks the means. It’s pathetic really as we watch the expression on his face as he realises he has to disappoint his daughter – for the umpteenth time.

Still, when it all comes down to it Ethan does his best work opposite Hoffman (lower down on my list). The first scene as the older Andy cajoles him into the robbery is memorable, even as we’re disgusted by Hanks’s weakness. But it’s not one we’re motivated to condemn, it’s sad really. It’s the same weakness he brings to his final scene – also opposite Hoffman. It’s a brilliant move from screenwriter Masterson and Lumet handles it well, never making it too ludicrous. Ethan has always been able to show fear in the most precise ways and the tension here is palpable. You almost here his sigh of relief as that (lucky) shot is fired. I don’t feel any remorse for Andy really, and as despicable as his getaway is – I don’t blame Hank. What will become of him? It’s anyone’s guess. Will he reunite with his father, help his daughter, move to the Islands? I’m not sure, but I do wonder because Ethan does an excellent job in making me care about this mouse of a man.

       

It’s easy to forget Ethan. Did you see Before the Devil Knows You’re Dead? Were you impressed with him?

Performances of the Decade (Male)

I liked the nineties more, even if I can’t remember them clearly (I was a babe) and even if I need to see more films from the period. Still, one thing about the aughts is seeing how many actors made their mark as inventible screen presences. Does anyone remember the guy who played Jude Law’s ally in Cold Mountain? I mean, he made my shortlist, but I don’t think anyone was expecting that guy to turn into one of the most important actors of the last half of the decade racking up three (almost) consecutive nominations – and a win, too. Personally, I think he’s brilliant. Yet, he was snubbed for his greatest contribution this decade – at least I think so.

        

#11 Philip Seymour Hoffman in Before the Devil Knows You’re Dead (2007)

Before the Devil Knows You’re Dead opens unceremoniously. Philip Seymour Hoffman and Marisa Tomei are having sex in what looks like the least romantic of styles. Lumet never was afraid to shock us and Before the Devil Knows You’re Dead is a close look at a family more pervasive than the usual family drama. It’s the kind of film where perspective is difficult to attain until we’ve stepped back and examined the entire film after the credits have rolled. Hoffman has always had the ability to unnerve the audience, his excellent Capote was a bit too suspicious and even though he made Father Flynn congenial enough the cards were already decided and there was no need to doubt his guilt. It’s this intimidating manner of his that he uses to full effect as Andy Hanson.

          

Andy is a tyrant in some ways and this is most perceptible in the brilliant scenes opposite Ethan Hawke. Hoffman has a way with flashy dialogue and from the most superficial of levels he thrives here. But, what makes him so invaluable to the screen is his ability to turn the tables. Forced to pin down one scene in particular to validate Hoffman’s inclusion on the list – I’d have to single out the tour-de-force battle against Albert Finney (playing his father). Someone said once it was like watching two wild animals go at it, and when it comes to the ferocity they’re not wrong. The similarities between Finney and Hoffman are not inadvertent and Hoffman’s breakdown is brilliantly executed. It’s unnerving, but in a different way. Notice how Maria Tomei is almost repulsed by the show of emotion in the car. Her Gina is notoriously weak and can’t handle this breakdown. I love how Hoffman responds in turn to her noncommittal reaction. Or how he goes to his drug supplier - so broken. But still not humane enough for us to feel anything other than discomfort.

Before the Devil Knows You’re Dead is – after all – a film about dealing with personal demons when life twists your life up. Hoffman’s confrontation with the conman at the end is brilliant like all else, it is in some ways more of a showcase for Hawke but even when he’s not the centre of the scene he never plays second fiddle. It’s a scarily brilliant turn and it’s a pity that such a well made film with all these great performances was ignored. Philip Seymour Hoffman has made some indelible contributions to cinema in the last decade and I only hope that he continues to be as prolific in this one. He’s not the typical leading man, and it’s strange when an actor hits their stride at his age. But he has the talent to pull it off.

           

Were you impressed by PSH in Lumet’s recent film? Or does another of his performances impress you?