Popcorn Kernels: Runners-Up

In my quest for Oscar nominees, I’ve come across a couple flicks that didn’t quite manage to snag the coveted Best Picture slot. Here are my mini-reviews. These are their stories.

The Danish Girl

Year: 2015

Director: Tom Hooper

Cast: Eddie Redmayne, Alicia Vikander, Amber Heard

Run Time: 1 hour 59 minutes

MPAA Rating: R

In 1920’s Denmark, celebrated painter Einar Wegener begins to transition into a woman (Lili Elbe), becoming a transgender pioneer while attempting to maintain a relationship with his wife Gerda. Incidentally, it’s almost impossible to pick the right pronoun when somebody is transitioning mid-sentence. Somebody should get on that.

Tom Hooper is the arthouse counterpart to Tobe Hooper. Both men with dubiously inconsistent directing prowess, they’ve managed to stumble their way into wide acclaim and the occasional masterpiece. While Tobe might be more of a household name thanks to The Texas Chain Saw Massacre and Poltergeist, Tom has earned himself a ludicrously high number of Oscar nominations. It’s up to you to decide which fate is better. So here we have The Danish Girl, his follow-up to The King’s Speech and Les Misérables, and the Oscarbaitiest film of his career to date, which is saying something.

Let me tell you right off the bat, the man’s direction is quite distinctly one of the worst things about the film, which is actually pretty decent, all things considered. Stagey and far too focused on geometry rather than human emotion, Hooper’s work stifles the film while keeping the audience at arm’s length. He frames people behind objects to an almost obnoxious degree, as though deliberately baiting viewers to call him out. It’s a load of distracting nonsense that obscures what could be a fun, lush melodrama. 

The material is already so far from reality (based on a book that’s a fictional account of the lives of Lili and Gerda, it is two planes removed from the truth, which is more interesting but light-years less angsty) that a truly wonderful over-the-top weepy could have been born from The Danish Girl. However, as it stands, the film is just a dry vehicle for two incredibly strong performances. If you think of stars Eddie Redmayne an Alicia Vikander (fresh from her starmaking turn in Ex Machina) as a work of art, the film itself is just a particularly ostentatious frame in which they are being displayed.

As far as the co-stars have terrific, bristling chemistry together, their individual performances are even better. Eddie Redmayne really is a triumph here, playing a real person rather than a dramatic type. There is one moment early on in the movie where his breath catches nervously upon being discovered. It’s a microscopic moment, but it took my breath away. Even more notable for her subtlety, Vikander holds her own, frequently hoisting the movie on her back and carrying it single-handedly across the finish line. For all that Redmayne is spectacular, Vikander is steadfast and never flickers. This is partially the script and partially her performance, but The Danish Girl is primarily her story and for good reason.

There are many better films that The Danish Girl could have been, but at least the one that it is has some incredible elements. And Amber Heard doesn’t have enough scenes to be a distraction, even though her skill has much improved in the decade since All the Boys Love Mandy Lane. Thank goodness for small favors. So really, the movie succeeds in spite of Hooper and there’s absolutely no question why The Danish Girl is leading the Oscar acting categories yet notably absent from Best Picture.

Rating: 6/10

Joy

Year: 2015

Director: David O. Russell

Cast: Jennifer Lawrence, Robert De Niro, Bradley Cooper 

Run Time: 2 hours 4 minutes

MPAA Rating: PG-13

A young woman puts her life’s savings on the line to pursue her dream: inventing things that improve the lives of others and selling them on QVC.

I’ve been compromised. After avoiding the twee-looking ensemble exploits of David O. Russell’s two previous Oscar-nominated films, I finally caved and watched Joy. Although it’s more of a Jennifer Lawrence showcase than anything, it’s nevertheless the third of a decreasingly prestigious bunch. We don’t have much time, so let’s get into it.

For the first half of its run time, Joy is – let’s be frank – uncompromisingly messy. A nervous attempt at evoking the fairy tale charm of Amélie, it’s too clammy and self-serious to pull off that live action cartoon feeling. This section is filled to the brim with broad characterizations, meta narration, and metaphors so clunky that you couldn’t even sell them for scrap. One in particular, a deranged and obvious cicada metaphor that treats the insects like metamorphosing butterflies, is actually rejected by the film itself in a line explicitly decrying its presence.

Even the technical aspects come crumbling down around Joy’s first act. The pacing goes haywire, leaping through scenes at a breakneck speed, the young actress playing Joy’s daughter (oh yeah, Jennifer Lawrence’s character is both named Joy and a mother of two – roll with me, here) seems to be actively attempting to tank her scenes with a dizzy, blank-faced performance, and there’s a flubbed line reading that somehow managed to avoid getting excised despite being in glaring need of another take. It’s amateurish at best, hopelessly pandering at worst.

The film finally pulls itself together with the introduction of Bradley Cooper’s character, who gets an entrance that treats him like an actual king. With all the fanfare his appearance gets, you’d think that Joy had resurrected Elvis. It’s deeply mystifying, but Cooper does a terrific job injecting the proceedings with raw, unfiltered life, finally giving Lawrence something concrete to play off. Up to this point, she’s been performing in a vacuum and she finally gets to blossom, giving her role an anxious, immediate humanity.

Joy’s newfound coherence and quality doesn’t make it an exquisite film – a series of obligatory and profoundly hollow melodrama beats see to that. But the film finally comes into its own, finishing off its lot with engaging pizzazz, even managing to make a QVC infomercial breathe with crackling energy. Here, the camera is actually awake, transforming its initial lunatic aspirations into a more straightforward and satisfying story.

All in all, Joy isn’t terribly recommendable, though it’s a light enough trifle that it’s not a trial to sit through. The vastly improved second half effectively cancels out the first half’s muddled tangle, resulting in a film that leaves exactly no impression. I’ll take this over a bad impression any day, but I can’t help but wish I got more out of it.

Rating: 6/10

Word Count: 1107

Archive: December 29, 2012

Les Misérables

Year: 2012
Director: Tom Hooper
Cast: Hugh Jackman, Russell Crowe, Anne Hathaway
Run Time: 2 hours, 37 minutes
MPAA Rating: PG-13

The December 25th release of Les Misérables made for a not so merry Christmas. Popcorn and tears covered theater floors in equal proportions.

From the beginning, this movie had several strikes against it in terms of the modern audience:

1. It is a musical.
2. It is a musical about the French Revolution.
3. It is a musical about the French Revolution in which all but 10-odd lines or so are sung.
4. It is over two hours long.
5. It was released on a holiday.

In spite of this, Les Mis made a ludicrous amount of money. On Christmas Day alone, it earned 18.2 million dollars.

That’s 8 million more than Rent made in its first weekend.

That’s 9 times the opening gross of Chicago, 6 times more than Little Shop of Horrors, and twice as much as Sweeney Todd.

That’s twice as much money as Once made in its entire run.

The theater I work at had to open another screening room just to accommodate the influx of ticket buyers.

So the question we need to ask is, in terms of quality, did this movie truly earn its box office?

The answer is yes.

You guys, Les Misérables is friggin’ incredible.

Yes, it is over-the-top, bombastic, and occasionally full-of-itself. But you know what? It’s a musical. Those qualities might kill a normal movie, but only serve to enhance the spectacle that provides the lifeblood of this narrative.

[Warning, spoilers ahead. While the idea of “spoilers” doesn’t really apply to Les Mis, because it’s more about the performances than the narrative, if you want to remain in the dark about who lives and dies, I advise you skip past the next few paragraphs to the picture of the adorable bunny.]

For those of you who don’t know, the story (based on the Victor Hugo novel of the same name) follows ex-convict Jean Valjean (Hugh Jackman) across three decades of his life. Essentially, the movie is divided into chapters, the first of which follows him after his release from a 19-year sentence (his crime: stealing a loaf of bread). A local preacher shows him how to be an honest man, and Valjean escapes parole to become the mayor of a small French town. The police Inspector Javert (Russell Crowe) devotes himself to tracking Valjean down in the name of justice.

The second chapter focuses on Fantine (Anne Hathaway), a factory worker who was turned out onto the street for bearing an illegitimate child. Her daughter Cosette (Isabelle Allen) is in the care of two conniving innkeepers, Mssr. and Madame Thénardier (Sacha Baron Cohen and Helena Bonham Carter) who demand more and more money from her. To pay off her debt, Fantine turns to selling her hair and teeth and eventually turns to prostitution. Her pride broken, she eventually succumbs to a severe case of Death (It’s a musical. These things just kind of happen.). Valjean, now the mayor, vows to take care of her daughter and retrieves her from the Thénardiers (after paying quite a hefty sum). Javert discovers Valjean’s true identity and tries to stop him but he escapes and is once more on the run, little Cosette in tow.

The third chapter (which one could alternatively think of as the Second Act) revolves around the rebellion in Paris. A bunch of college-aged men, chief among which are Marius (Eddie Redmayne) and Enjolras (Aaron Tveit, a personal hero of mine), are preparing to fight against the king and the unfair justice system. Valjean has retired to a small home on the outskirts of the city with a now teenage Cosette (Amanda Seyfried). In an effort to prevent her from knowing his true identity as well as escaping capture, he has become a recluse and quite an over-protective parent. One day in the Parisian markets, Valjean is discovered by the Thénardiers as they try to scam him for money. Javert is called in, and Valjean rushes home to pack his things and skip town, much to the dismay of Cosette, who has met and instantly fallen in love with Marius. 

Marius enlists the help of his friend Éponine (Samantha Barks), the daughter of the Thénardiers, to track down Cosette. She does so, although she is madly in love with him. He abandons his rebel brothers to try and find her, but upon learning that she is being taken across the sea, he is heartbroken and returns to fight. The battle begins at a barricade blocking off a side street. Javert, dressed as a Parisian, seeks to undermine them but is discovered and tied up to be dealt with later. The rebels are joined by Éponine, dressed as a man, and Valjean, who shows Javert mercy and secretly sets him free, much to Javert’s dismay.

The battle begins and the casualties soar. Éponine sacrifices herself for Marius and dies in his arms, finally revealing her love. Marius is wounded, and his unconscious body is dragged into the sewers by Valjean, who once again encounters Javert. Javert, ever devoted to his concept of justice, attempts to capture Valjean, but is convinced to let him through, saving Marius’s life. Although he has done a good deed, he is conflicted by his duty to justice and the fact that Valjean spared his life and ends up hurling himself off a bridge.

The rebels fall, the revolution fails, and Marius and Cosette are reunited in the wake of tragedy. On their wedding day, Valjean can no longer bear to hold his secret over Cosette and runs off to a monastery. He doesn’t want Cosette to know his true identity, and has left, finally realizing it is how he can best protect her from ever being in danger. However, Marius and Cosette track him down and are there to comfort him as he dies of Being Old and finally rejoins Fantine in the afterlife as trumpets blare and the voice of the revolution lives on in the memories of all that have sacrificed themselves for it.

Now. That’s quite a lot to swallow. And that is a bare bones summary. Now you understand why this movie has such an expansive run time.

OK spoilers crew, we’re safe now.

The story of Les Misérables is tragic and beautiful (sorry to tantalize you spoiler-fearing guys) and the filmmakers mostly manage to capture the grandiosity of it all, especially in the ensemble numbers (Look Down, At the End of the Day, Red and Black, One Day More, and the Epilogue).

Now let’s talk about the Grand Experiment. Singing live in camera is something that has never been attempted on this scale before and it overwhelmingly, undeniably, works.

This method allows the actors much more freedom to emote and feel the music and produces some absolutely incomparable performances. Anne Hathaway’s I Dreamed a Dream is, and I have no doubt in my mind about saying this, the absolute best performance of that song that has ever been sung. Eddie Redmayne’s Empty Chairs At Empty Tables and Hugh Jackman’s performance of Valjean’s Soliloquy are also standouts of the craft.

My God you guys, what an absolute success.

Now I’m sure you’ve heard people deriding Russell Crowe’s voice and it’s true that he cheats on the octaves occasionally and his voice is certainly less polished than the other performers but let me tell you it totally works for the character of Javert, an overly upright servant of the law.

Personally, I was more bothered by Redmayne’s voice. While he can certainly sing and I’ve already raved about his performance of Empty Chairs at Empty Tables, overall he kind of sounded like he had a frog in his throat the entire time and it irritated me more often than  not.

Also to those of you who doubted Amanda Seyfried, she hits some spectacular high notes. And if you absolutely can’t stand her, don’t worry, she’s really not in that much of the movie.

The film also features two astoundingly well-rounded performances from child actors, which is decidedly uncommon.

I’d have to say my biggest qualm going into the film was about Baron Cohen and Bonham Carter’s presence, but they nailed it. The Thénardiers are the comic relief of Les Mis, and they are given a lot to work with. I’m normally irritated with Sacha Baron Cohen beyond all reason, but his performance was absolutely organic and natural, not at all distracting from the overall narrative.

So far, I’ve had very little negative to say about the movie, so I think it’s time to raise my biggest complaint: the camera work.

The cameraman clearly adored extreme close-ups, which have their place in a film, but they were so overwhelmingly featured that sometimes the film felt claustrophobic, and once a solo number started, the camera would fix itself in place and resolutely refused to move.

I Dreamed a Dream was this. For three minutes. I’d have loved to see more dynamic cinematography, but I suppose it’s not too much of a sin to let this performance speak for itself.

In closing, Les Misérables is a huge film with huge ambition and almost entirely across the board achieves what it sets out to do. A caveat, it’s definitely a movie that you have to be in the right mood for, and if you prefer comedies, run in the opposite direction as quickly as you can. But even if you don’t like musicals, I urge you to try this one out. It’s manly, it’s  about criminals and war. The operatic style with little dialogue and the in camera vocal work are both unique in the world of film musicals and it’s definitely worth it to see for that as well.

Odds and ends: DAT WAIST

TL;DR: Les Misérables is a film of epic proportions featuring heart-wrenching performances, stellar vocals, and a complex and subtle story about the true meaning of justice, virtue, love, and dreams.

Rating: 9/10

Side Bar: This long-winded article contains 1,704 words, which is about 0.3% of Victor Hugo’s 1,500 page novel. Try that on for size.

Word Count: 1749