Talking Movies

July 13, 2010

Keanu Takes Stock

Keanu Reeves will be 46 in a few months, so how is he dealing with mid-life cinematically?

Back in 2004 when I wrote a profile of Keanu for the University Observer he had just refused to play Superman for Warner Bros, and now (not being connected to any lucrative franchise) unlike the era of George Reeves, he’d be considered about 20 years to old to even get an audition.  In that piece I’d cryptically noted that “The 40s is the decade where film stars have their last big roles” but didn’t have time to expand on my meaning, which was that Hollywood leading men tend to lose their cachet on hitting 50 so their 40s are the years where they have the maturity and the box-office clout to take on big roles – like John Wayne doing Red River and The Searchers, Gregory Peck doing Moby Dick, Cape Fear and To Kill a Mockingbird and even Michael Douglas doing Romancing the Stone, Wall Street and Basic Instinct.

Since Keanu turned 40 he’s appeared in only seven films Constantine, Thumbsucker, The Lake House, A Scanner Darkly, Street Kings, The Day the Earth Stood Still, and The Private Lives of Pippa Lee. Like Jack Nicholson in the 1980s he’s not been afraid to play supporting parts. His gleefully self-parodic performance in a glorified cameo in Thumbsucker as a zen orthodontist who spouts Gnostic nonsense to the titular hero is by far the best thing in the movie. His turn in Pippa Lee is also a joy, as his middle-age failed pastor and failed husband screw-up embarks on a tentative romance with Robin Wright’s eponymous character that may just redeem both their lives. Keanu’s sci-fi films, Scanner and Earth, struggled to find sustained audiences. Linklater’s roto-scoped adaptation of Philip K Dick’s novel is a good if flawed film but Robert Downey Jr’s manic turn eclipses everything else, while Earth is a serviceable Christmas blockbuster in which Keanu nicely plays the emerging empathy with humans of the alien with awesome powers but the film struggles to truly justify remaking the revered original for the sake of CGI destruction sequences.

As far as mature roles go Street Kings’ Tom Ludlow must rank as one of his best. Ludlow is ‘the tip on the spear’ of the LAPD, a blunt instrument who stages ‘exigent circumstances’ to act on his Dirty Harry impulses and kill the worst criminals. Wrongly implicated in the murder of his former partner he jeopardises an elaborate cover-up by his friends in his single-minded search for the cop-killers, his unstoppable thirst for answers acting as a tragic flaw which reveals that his violent tendencies have been exploited by smarter people. Beside that career highlight The Lake House can seem insubstantial although it is a very sweet entry in the lengthy list of Keanu’s romantic dramas while Constantine stands out commercially as the franchise that never was… Keanu’s chain-smoking street magus John Constantine bore little resemblance to Alan Moore’s comics character but it powered a supernatural thriller with exquisitely deliberate pacing and a fine sense of metaphysical horror that was Keanu’s best film since The Matrix. Keanu seems to have moved away from franchise movies but that might just reduce the audience for his upcoming roles. He faces a dilemma it seems – does he take on another box-office behemoth or just cameo in indie movies?

Where he goes from here is a choice we leave up to him…

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November 17, 2009

A Proof: Keanu Can Act

This blog will now attempt the impossible and prove (though sadly not by the use of algebra or geometry) that Keanu Reeves can act. I know, you’re sceptical, but hear me out. If Keanu can’t act, as nearly every film critic on the planet has gone on the record at some point to allege, then everything he does in every film should be the exact same, because he never gets into any role, right? To quote Kevin Spacey’s Lex Luthor, “WRONG!!!” I’m going to use the old classic ‘compare and contrast’ method to prove once and for all that Keanu Reeves can act and not only that but that he can be observed acting in the most minute character details that could be easily overlooked.

The films to be examined are Hardball (2001) and Constantine (2005). Hardball is a sappy sports drama in which our hard-living hero learns life-lessons from the ghetto kids he coaches at baseball and blah. Constantine is a highly stylised supernatural thriller loosely inspired by the comics of Alan Moore, Garth Ennis and Steve Dillon. In both films Keanu chain-smokes. But he chain-smokes in completely different ways in each film. Keanu’s John Constantine is a bad-ass, his soul has been marked for eternal damnation and he knows it, he’s cocky and arrogant because of what he knows about magic and demons and the terminal cancer in his lungs, he is a rake at the gates of hell to borrow one of the comics’ descriptions. Thus he lights his cigarettes in a very stylised ‘I’m too cool’ way, and smokes them slowly, enjoying the social taboo he’s breaking.

Keanu’s Conor in Hardball is a twitchy, nervy gambler, heavily in debt and facing a savage beating from at least two bookies if he doesn’t repay them an awful lot of money that he really doesn’t have and has little prospect of raising in time. He lights his cigarettes viciously fast, drags on them like he’s sucking in oxygen, and pulls them in and out of his mouth jerkily like he’s got endless caffeine causing spasms in his arms. This is not the lingering smoking of Constantine but a very character specific neurotic smoking.

Now an actor who can’t act could in no way have come up with two different ways of smoking to express his character’s feelings. Therefore people, Keanu Can Act: QED.

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