The Descendants.

Review #1558: The Descendants.

Cast: 

George Clooney (Matthew "Matt" King), Shailene Woodley (Alexandra "Alex" King), Amara Miller (Scottie King), Nick Krause (Sid), Beau Bridges (Hugh King), Judy Greer (Julie Speer), Matthew Lillard (Brian Speer), Robert Forster (Scott Thorson), Patricia Hastie (Elizabeth King), and Mary Birdsong (Kai Mitchell) Directed by Alexander Payne (#635 - Nebraska and #1169 - About Schmidt)

Review: 

I’m deathly afraid of being too sentimental. But a film should be emotional. There is a letter from Chekhov in which a young writer asks him for some feedback, and he’s kind enough to do it. He writes the guy back and says, basically, ‘It’s too damn sentimental. If you want emotional effects, you have to place them against a cold background, so they stand out in relief.’ I think that’s true.”

It's easy to make a film about fulfillment of the self and finding a way through crisis when you have a director ripe for it. Payne was born in Omaha, Nebraska (which to perhaps some surprise has had several notable people come from there, such as Marlon Brando) to parents with Greek descent. He developed an interest with film early as a child from viewings at the theater with his parents (noting several filmmakers that influenced him such as Robert Altman, Akira Kurosawa, and Luis Bunuel), and receiving an old Super 8mm projector from his father as a teenager helped in that regard as well. He made dual studies in college, studying Spanish literature and history at Stanford University before moving on to UCLA Film School that led to a master's degree alongside attention with his thesis film with The Passion of Martin (1990). While a deal with Universal Pictures didn't result in a film with them (the one script they had him write would be made - as About Schmidt, a decade later), he eventually found his way to feature filmmaking with Citizen Ruth (1996) and his breakthrough with Election (1999). Since then, he has made five further films (with a few even set and shot in his hometown) that have made him an interesting auteur filmmaker to follow through with his mix between drama and comedy with a majority of success with audiences.  

The film is an adaptation of the 2007 novel of the same name by Hawaii-native Kaui Hart Hemmings, who described her experiences growing up there as important to understanding ideas she found interest in such as the "complicated issues of land, history, and inheritance," describing the state as like a silent force more than just a simple drama (with this mix of tragedy and dark comedy being apparent as well in the film). As he has done for most of his films, Payne served as a co-writer of the screenplay (although without usual co-writer Jim Taylor, who instead co-produced the film with Payne), doing so with Nat Faxon and Jim Rash, both of whom were making their debut as writers with a script that languished for a while in development. In any case, what we have here is a capably human film that hits its mark with flawed people living in a world past our first impressions (whether that involves a happy life or "paradise" living in Hawaii). It benefits from a useful cast that accomplishes most of what it wants to display about a life turning around on decisions to be made and ones made for them and finding a way out of being trapped by monotonous life or wracked in pity. Sure, there are no easy solutions to said problems in life, but it is how one steps into their contradictions and deals with it that makes them find something more than just living on some land day after day - a crisis of marriage, a crisis of family, and a crisis of business for 115 minutes that is just well enough. In that sense, Clooney does well in lining up these dilemmas and work it out with conviction that represents a worthy challenge to bring together for an actor like him, never drawing upon emotional smarminess or anything meant to guide away from the character as a whole. Woodley proves well in motion over time with this film, growing around the edge with well enough emphasis, and her moments with Miller or with Krause lend well to some worthy inspection and chuckles. Others make their mark in parts with touches of breeze or flint with Bridges and Forster, respectively, or folks for the climax with Greer and Lillard that make effort count. On the whole, it works in a majority of its moments in generating capable drama without lounging itself too much in pity or with condensation while leaving the audience to see where the path lies for them in resonating with it.

Overall, I give it 8 out of 10 stars.

The Fabulous Baker Boys.

Review #1493: The Fabulous Baker Boys.

Cast: 
Jeff Bridges (Jack Baker), Michelle Pfeiffer (Susie Diamond), Beau Bridges (Frank Baker), Ellie Raab (Nina), Xander Berkeley (Lloyd), Jennifer Tilly (Blanche "Monica" Moran), Dakin Matthews (Charlie), and Ken Lerner (Ray) Written and Directed by Steve Kloves.

Review: 
"Jeff, for me, is like the old time actors who you never know are acting; he's seamless - you just never see him working at it."
"It's my profound fear of embarrassment that's kept me going. That's the key to my success."

There's nothing in show business like films about show business, whether with gimmicks or familiar stories. How could I resist this as some sort of last representation of the 1980s? Really it is the pairing of the two Bridges actors that really got me interested more than anything, since each are quite interesting to see in films from time to time, and this serves as their first and so far only film together. Each had made plenty of appearances in films and television since each were children (they also happened to have served in the United States Coast Guard Reserve like their father Lloyd) that scored triumphs in the early twenties with films such as The Landlord (1970) and The Last Picture Show (1971). Of course the other prevailing reason to view the film is Pfeiffer, who had risen to prominence in the 1980s with films such as Grease 2 (1982), Scarface (1983), and Married to the Mob (1988); she had come across the role after others such as Madonna had rejected it, and she would do her own singing for the film. These actors came together for a film that would be helmed by a first-time director in Kloves, who had written just one previous film in Racing with the Moon (1984).

It certainly proves a dazzling spin on the familiar lounge act, one with a splendid trio and a well-captured atmosphere that I would say makes it an under looked classic. There is just something about this film that inspires plenty of soulful energy and charming nature that makes interesting characters come out with interest that overcomes what could've just been a casual gimmick and makes a diverting look upon talent and the nature of being with others. For the initial first few minutes of the film, it first starts as looking upon the differences about the approach to the act, whether that means the same old banter one could hear in the familiar lounge performers or even something as simple as covering up a bald spot with spray - they may be has-beens, but they are our has-beens to watch, and we are curious about them and their approach to the inevitability of a graying act with graying faces watching. And then of course there comes someone brimming with confidence and appeal that comes right in the middle of all that. Let us start with Pfeiffer, who is brimming with intuition and passion from the very moment we see her on screen, sizzling in competence and style that seems reminiscent of older-style lounge singers and idols with a good talent for singing while also having an understated yet interesting chemistry when paired with J. Bridges. This is apparent with the "Makin' Whoopee" number, bringing down the house on top of that piano with energy and curiosity. J. Bridges has a sort of aloof charm to his performance, weary in his effortlessness that makes for enjoyable drama that the cynical romantic can appreciate. B. Bridges is the other side of the act, showy in desperation (right down to a few moments of groveling) but still amiable enough to watch him try to corral these two acts before it reaches exhaustion. While the scene with them arguing over a botched telethon is a stark highlight, the best one might be their next scene after that, where they reminisce a bit before going into "You're Sixteen", the one time they sing with each other (their piano-work was dubbed by Dave Grusin and John F. Hammond, with the former also doing the acclaimed music score) that is warm and bittersweet. On the whole, the film rises above what could have been a predictable romantic musical comedy-drama through sheer will of its main trio in making capable moments come alive that deal with the grind of show business and human nature that comes with it and trying to find people to go with it, and the film has its certainties and un-certainties to that end. It is a tender gem that deserves further appreciation, a tender and entertaining effort that hits most of its notes with class and style for its era.

Next Time: The eighth edition of Tribute to the Decades, with a surprise for the first film and then the announcement of the films of the 1990s to be covered.

Overall, I give it 9 out of 10 stars.