Notes on Blue Valentine

Blue Valentine is a film that’s explicit in its lack of specificity as it examines the ennui that comes with marriage. You may often hear divorced couples citing “irreconcilable differences” as the reason for the disintegration of their marriage. As far as grounds for divorce goes, it’s probably the vaguest and it’s from this same state of general ambiguity that Cianfrance roots the dissolution of the marriage in Blue Valentine on. Dean and Cindy are in a failing marriage and neither of them seem able to discern why. It depends on an atmosphere shrouded by the story that’s redolent of the twitchy awkwardness of Greenberg or the meandering apathy of Somewhere. Blue Valentine is uncomfortable and even gauche because that’s the situation that our protagonists are in and in that way Blue Valentine depends as much on its actors as much as it serves them up an almost impossible task.

I’ve never been a particularly big fan of Michelle Williams, since her Dawson’s Creek days she’s always had the tendency to personify the characters she plays with a harshness that seems unnecessarily harsh and in watching her play Cindy in the present it would seem as if she’s doing the same – she’s not, though. It’s a difficult task playing a character then and now when the “then” is so recent and the way that we go to the “now” are so vague. Williams tasks the task and delivers with aplomb, though, allowing the same potentially cute features of the younger Cindy to stagnate and become the tics that divide us from completely surrendering to her when she ages. It sound too easy – too easy – especially when you think of the cavalier manner that Gosling must play Dean in. To be honest, Cianfrance seems to intent on playing him up as a villain too often. Still, Gosling uses his natural intensity to create Dean as a bit of surprising entity. I find it impossible not to choose him in the battle of the spouses – not because his Dean is more sympathetic, but because he’s playing with his heart on his sleeves (as he should) something that doesn’t necessarily make him a better but marks how much he yields to his characters faults, fearlessly. It’s not really Williams fault that I can’t love her wholly.

I can’t love Blue Valentine wholly either, and it’s not because it’s a downer. Whereas I can accept the dwindling nature of Somewhere as indicative of Coppola’s overall point Blue Valentine makes its point but Cianfrance seems more interested in establishing how depressing the marriage has become and the flashback scenes work not because of a palpable interest in that portion of the narrative (as far as I can discern) but because Williams and Gosling are such troopers. Ultimately, Cianfrance succeeds because he at least shows some legitimate interest in his characters but at times there’s too stringent a feeling of dawdling which makes sense in the present day portions of the film, but robs the flashbacks of any chance to suggest a different alternative to the relationship. And if the relationship was so obviously doomed, I can’t help but wonder what the point of it all was.

        

B

Encore Awards (2010 in Review): Forgotten Characters (Finale)

This was the first real feature I ever had on this blog, and it’s sort of my favourite so I think it’s fitting that I include it as the first of my miscellaneous categories to kick things off in remembering 2010 in film. As it stands I’ve seen just below 70 films, and it looks like I’ll be unable to get a look at some elusive ones before I unveil my awards – which is unfortunate, but not disastrous. I’ll persevere nonetheless.

            

I don’t think I’ve ever really cared to explicitly define what qualifies as a forgotten character. In the actual series I’ve covered performances like Ethan Hawke in Training Day – who was forgotten, even though he’s the film’s protagonist and I was tempted to include actors like Lucas Black – who was a necessity in Get Low, in a strong supporting role, but who’s been forgotten almost everyone or Matt Damon in True Grit, who’s not quite exceptional but has gotten almost no recognition for his stoic LeBoeuf. But, ideally, a forgotten character is one of those characters coasting on the sidelines of the narrative, and in their thankless roles become forgotten when the film succeeds. They’re sometimes necessary as the impetus for certain plot-points but because they’ve been written in such a way they never get to be more than a flat character (on paper at least). Some actors can make that work for themselves, though. So, my official Encore Awards begin with a miscellaneous category.

THE NOMINEES

Sally Hawkins in Never Let Me Go (as Miss Lucy)

 

In a way Hawkins’ natural cadence seems all wrong for the very serious Miss Lucy, but it’s to her credit that the entire arc at Hailsham seems to depend on her performance. There’s something self-effacing about her without being coy, all the while managing to be that sort of perfect teacher that every child hopes for. She understands enough to play Lucy as a projection of Cathy’s memory, without making her too saccharine, though. (Highlight: Conversation with Cathy.)

Rashida Jones in The Social Network (as Marylin Delpy)

After the credits roll (well, the first time) I couldn’t stop thinking about Jones’ Marylin The thing is I’ve always liked Jones, but I’m not being biased when I think of all the little ticks she imbues in a character that’s barely there on the page. She’s able to show Marylin having that slight star struck response to Zuckerberg but still managing to maintain her professionalism, even if you get the sense that she’s sort of contented in being a little silly at times. (Highlight: Her blink-and-you’ll-miss-it laughter during Eduardo’s chicken scenario.)

Anna Kendrick in Scott Pilgrim vs the World (as Stacy Pilgrim)

 

Like everything about Scott Pilgrim vs the World, I was unprepared to be as wholly charmed by Kendrick as I was. Even if she seems too aged to be playing Cera’s younger sister her vocal tics and annoying traits – that aren’t so annoying – are just a few parts of the small things that work so well in this movie. She has a firm grip on the character, even if it is sort of the perpetually gossip-y teen that still feels like something fresh. (Highlight: “I’m literally about to leave!”)

Max Minghella in The Social Network (as Divya Narendra)

I like Max Minghella a whole lot, even though I’ve only seen him in one other film. Everyone seems enamoured (rightfully so, I suppose) with Armie “porn star name” Hammer’s performance but I’m even more impressed with Minghella’s work if only because I find him funniest and most sincere. He’s sort of annoying without ever really being annoying, in fact he’s even likeable sometimes. And Hammer sort of loses me when he imbues the Winklevoss’ with those vaguely unlikeable traits unnecessarily, the script is already least infatuated with them. He’s actually trying to make Divya interesting, if not amiable. (Highlight: Tripping over his feet in horror when he sees that The Facebook has gone live.)

Michelle Williams in Shutter Island (as Dolores Chanal)

 

I’m not certain how much this qualifies because this seems a slight bit more than a small character, but when you really think about it Williams really doesn’t have much of a role. She’s playing a memory, and unlike Mal in Inception even if she does provide the climax of the tale she’s not as constant. But she completely sells it given one of the strongest performances I’ve seen her. (Highlight: The revelation, of course.)

FINALISTS: Tammy Blanchard in Rabbit Hole; Yaya DaCosta in The Kids Are All Right; Viola Davis in Eat Pray Love; Crispin Glover in Alice in Wonderland; Cillian Murphy in Inception

SEMI-FINALISTS: Michael Gambon in The King’s Speech; Artie Hammer in The Social Network; Cherry Jones in Mother & Child; Johnny Simons in Scott Pilgrim vs the World; Mae Whitman in Scott Pilgrim vs the World

        

So, we begin 2010 in Review in Encore’s World, of the top 5 ultimate forgotten who made the biggest impression on you? Williams’ haunting wife? Kendrick’s droning sister? Or the lone male nominee, Minghella? Which forgotten character of 2010 do you wish would get some love?