Talking Movies

January 23, 2015

A Most Violent Year

1981 was the worst year on record for violent crime in New York City, and that threat hangs over director JC Chandor’s absorbing period drama.

A-Most-Violent-Year-5

Abel Morales (Oscar Isaac) is a driven entrepreneur in the business of supplying the oil that gets New York thru its winters. He is buying a coveted piece of real estate from a Hasidic dynasty, but needs an awful lot of money to cover the sale or he loses his huge deposit and the tract of land; and with it the chance to trump his rivals. But things are unravelling. The government in the form of Lawrence (David Oyelowo) is ready to indict his business practices, somebody – possibly his rivals Peter Forente (Alessandro Nivola) and Gleen Fleshler (Arnold Klein) – are hijacking his trucks and stealing his oil, his protégé Julian (Elyes Gabel) has been severely injured in one of these jackings, and Teamster Peter Gerety (Bill O’Leary) is threatening a strike if Abel doesn’t arm his vulnerable fleet of drivers.

A Most Violent Year despite the menacing title isn’t a violent film. But from the outset, when you realise that driving a truck thru a toll-booth can lead to getting jumped, it has an unnerving tension. JC Chandor sets his film in 1981 New York, and seemingly sets out to replicate the 1970s New Hollywood in doing so. Frank G DeMarco who shot Chandor’s previous films Margin Call and All is Lost with a crisp clarity is replaced as cinematographer by Bradford Young. I raved about Young’s atmospheric under-lighting of Ain’t Them Bodies Saints, and here he channels 1970s DP Gordon Willis (aka Prince of Darkness) for rich, underlit interiors of browns and dark gold. And if certain scenes look like The Godfather then Oscar Isaac is on the same wavelength as a certain Pacino quality comes off his performance.

But this is Michael Corleone determined to remain on the straight and narrow. Abel’s wife Anna (Jessica Chastain in 1980s mobster moll mode) is the daughter of a connected man, but Abel is adamant that he wants to win by staying clean. Such morality confuses his attorney Andrew Walsh (Albert Brooks), who foresees disaster if Abel doesn’t learn to play dirty in a bent town. The control on display by writer/director Chandor is intimidating. This is a very precise film. Even action scenes, like a thrilling truck chase in a tunnel, feel exacting; and a foot-chase along a spaghetti junction with a steadicam recalls Marathon Man. But, as with Paul Thomas Anderson’s Inherent Vice, there’s a point at which this Biskind-led valorisation of New Hollyood becomes crippling. How can you make it new, as Pound demanded of art, if you’re in thrall to making it like they did in 1975?

Chandor is an intriguing film-maker – he’s made three films, all wildly different, but each time characterised by singular vision.

4/5

February 28, 2013

Arbitrage

A Golden Globe nominated Richard Gere plays a high-flying Wall Street magnate  juggling crises financial, emotional, and ominously legal in screenwriter  Nicholas Jarecki’s feature debut.

Photography By Myles Aronowitz

Robert Miller (Gere) is the CEO and founder of investment firm Miller  Capital. He’s about to sell his company to the fabulously wealthy James Mayfield  (Graydon Carter), but needs the deal to happen urgently before the $400 million  hole in his accounts, hidden by his pliable auditor, is discovered. His personal  life, juggling his wife Ellen (Susan Sarandon) and his mistress Julie (Laetitia  Casta), is stressful enough. But between trying to stave off his wife’s  suspicions, visit his mistress’s new art exhibition to avoid her hysteria, and  finagle the forensic accountants, Miller finds himself asleep at the wheel,  literally. He enlists the help of an old lieutenant’s son, Jimmy (Nate Parker),  to cover up his deadly accident, but it seems certain either his  daughter/business partner Brooke (Britt Marling) or embittered NYPD homicide  detective Bryer (Tim Roth) will unravel Miller’s lies.

Richard Gere is a puzzling actor. He’s occasionally self-satisfied but can  generate audience sympathy out of thin air in films like Red Corner and The Jackal, but, as the necessity of doing so  in films like those indicates, he just can’t seem to recognise good scripts.  Gere does have some barnstorming rants here, and he’s brilliant at saying  abrasive things and then instantly apologising; as if the stress Miller is under  causes his social filters to malfunction. But Gere alone cannot carry a film  dripping cliché. His mistress Julie is the most irritating, high-maintenance,  art gallery owning French stereotype imaginable. It is simply impossible to care  about her, when you want to slap Miller for carrying on with her given how great  his privileged life is. And this is the script’s fault as Casta excelled as  Bardot in 2010’s Gainsbourg.

The slowly tightening legal vice  around Jimmy as he tries to stonewall his way out of admitting any involvement  with Miller’s situation is compelling, but not nearly as tense as that in Side Effects. Jarecki also nicely heightens  the suspense of Miller trying to meet the elusive Mr Mayfield to settle the  buyout of his firm in person like men. But this film doesn’t really shed a light  on high finance like Margin Call (or  even Wall Street 2’s central speech)  did. There’s nothing wrong with melodrama, Dickens and Ibsen are melodramatic;  what’s unforgivable is turgid melodrama. And, when Sarandon finally comes into  her own near the end, her grandstanding reveals that, for all Marling’s gameness  in showing how Brooke’s suspicions of her father’s honesty cause her to unravel,  this is melodrama about a tycoon masquerading as biting social commentary.

Jarecki was dropped from directing his 2008 adaptation of Bret Easton Ellis’ The Informers. This proves his  competence directing, but his script offers many individual gems without overall  impact.

2.5/5

Blog at WordPress.com.