Talking Movies

February 17, 2014

Top 5 Ellen Page Films

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(5) Inception

Christopher Nolan’s mind heist thriller builds to a tremendous redemptive emotional kick, when you read the film superficially as too neat structurally for its own good, but … see a loose thread and pull and the garment doesn’t unravel, it changes pattern. ‘Ariadne is too obviously an expositional device’. Yes, unless her insistence on talking through the plot with Cobb is because she’s a therapist surreptitiously hired by Arthur to banish Mal from Cobb’s mind… Page’s performance works equally well as the most grounded member of the team pushing Cobb to exorcise his demons because of her compassion.

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(4) The East

Brit Marling’s script is as building-block developed as most of Johnny Depp’s recent roles (Fight Club + Point Break + Revenge = The East), but Page makes the most of her juicy part as Izzy, the fearsome lieutenant to Alexander Skarsgaard’s ecological Tyler Durden. Her voiceover for the opening montage of The East destroying an oil executive’s home with horror imagery of seeping oil is extremely menacing. Page is so enigmatic as to appear without moral limits, and by the end the strength of her convictions and ruthless actions render her almost a Fury of Greek myth.

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(3) Whip It!

Drew Barrymore’s sports comedy-drama about Page’s smart high-school girl rebelling against her conservative mother by joining the riotous Texas Roller Derby is an awful lot of fun. Page carries the film with ease, handling the demanding physicality of the bone-crunching roller-derby scenes with the same aplomb as the comedy and drama of the off-rink scenes of high-school and family life. Filled with sparkling turns from a female ensemble including Kristen Wiig, the creaking of the plot mechanics becomes a bit audible in the second act, only for Barrymore’s final act to be pleasingly subversive on two counts.

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(2) Juno

Juno is a damn good film with a great central performance rather than a truly great film, even though Diablo Cody’s script is refreshingly unpredictable in its tale of a sarcastic teenager giving her unplanned baby up for adoption to yuppies Jennifer Garner and Jason Bateman. What it lacks in depth it makes up for in charm, from the soundtrack to the colourful supporting turns by Olivia Thirlby and Michael Cera. Page, at just 20 years of age, mordantly carried the entire film as the prematurely jaded Juno McGuff, equally adept at biting put-downs and explosive moral outrage.

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(1) Hard Candy

Page was just 17 when she filmed this two-hander with Patrick Wilson and burned a hole in the screen with her white-hot performance. It’s a simple premise. Teenage girl and older man meet on internet, go to a cafe, go back to his place, have some drinks, take some photos … and then he wakes up tied to his kitchen table with her reading a text-book covering castration. David Slade’s directorial debut was gruelling, tense, horrific, and blackly comic, and utterly dependent on the teenage Page’s incendiary performance effortlessly swinging between precocious, mischievous, sadistic, indignant and psychotic.

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July 19, 2010

Inception

“Have you ever had a dream Neo, that you were so sure was real. What if you found yourself unable to awake from that dream? How would you know the difference between the real world and the dream world?” Among the many achievements of Christopher Nolan’s latest film is that it answers Morpheus’ rhetorical question…

I’m not idly linking Inception to The Matrix as Nolan is in dialogue with it as well as his own opus. Following a typically stylish/puzzling opening we follow corporate spies Cobb (Leonardo DiCaprio) and his right-hand man Arthur (Joseph Gordon-Levitt) as they bungle an industrial espionage job in a Japanese mansion highly reminiscent of Ras Al’Ghul’s mountain lair in Batman Begins. They are unexpectedly offered a way out of their predicament from a former mark Saito (Ken Watanabe). Saito wants them to reverse their usual modus operandi of ‘extracting’ secrets and instead attempt inception – to plant the seed of a destructive idea in the mind of his business rival (Cillian Murphy) – which Arthur, almost imitating Gabriel Byrne in The Usual Suspects, opines can’t be done. Cobb though takes the job, as Saito offers the bait of freeing himself from outstanding legal troubles which have prevented him returning to his family in America. Nolan’s ‘existential heist movie’ then becomes a joyous globe-trotting exercise in assembling a team for the caper – picking up a forger in Mombasa (Tom Hardy), an architect in Paris (Ellen Page), and a seriously dodgy chemist, before training (in shared dreams) in a warehouse and making contact with the mark, who complicates their plans…

That description should tell you that Nolan has somehow made a ‘realistic’ film about larceny where the scene of the crime is your unconscious mind. This depiction of the unconscious owes nothing to Dali, Freud or Jung. His thieves keep their dreamscapes impeccably realistic to dupe the mark into believing that the dream world is real. Only Ariadne’s initial gleeful construction of architecture free from the laws of physics, and collapsing dreams and malevolent subconscious projections shatter that verisimilitude. Nolan’s interest here is not plot twists or fractured chronology but layering levels of reality. This allows him the blockbuster action tension of the double jeopardy at the end of The Matrix, with Neo fighting Smith while a Squiddie assaults the Nebuchadnezzar, but even more heightened. How exactly these thieves insinuate themselves into their subjects’ dreams and manipulate them though is anything but popcorn as its conceptual simplicity but sheer craziness in execution means you must stay as alert to what is happening at every moment as with Memento. The device which allows the team to synchronise their dreams and instantly fall asleep is similar to its equivalent in The Matrix but (gloriously) its working is never explained scientifically in this ‘sci-fi thriller’, which instead prioritises Edith Piaf and inner ear discomfort in the explanation of the ingenious ‘kicks’ for waking up.

Nolan’s films obsessively follow characters wracked by guilt over the deaths of people close to them who embark on quests for justice or vengeance and Cobb is an interesting variation on this archetype. DiCaprio is strong as a haunted hero running from his guilt, aided by Hans Zimmer’s unsettling reworking of his Two-Face musical theme, and is supported by an impeccable ensemble. Page is terrific as Ariadne. Both the newest member of the team, through whose eyes we come to understand this universe’s rules, and the most grounded, it is she who pushes Cobb towards finally exorcising his demons before they endanger the team. Hardy shows immense range after his bravura turn in Bronson by being wonderfully insouciant as the forger Eames, while Brick star Joseph Gordon-Levitt is once again effortlessly charismatic as the quick-thinking point-man Arthur. He steals many scenes from DiCaprio and memorably gives an outstandingly delivery of one delightful word.

Inception combines caper movie with sci-fi thriller, underpinned by a meaty character arc about guilt that takes advantage of being able to give physical reality to subconscious emotional scars, to dazzle both eyes and mind. Essential viewing.

5/5

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