Talking Movies

April 21, 2019

Any Other Business: Part XXIX

What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a proper blog post? Why round them up and turn them into a twenty-ninth portmanteau post on matters of course!

“Nah, I don’t like it”

This ad has been annoying me for months, to an unusual degree because of its omnipresence in the inescapable setting of a cinema. From the start I thought of the moment in Castle when his daughter’s layabout boyfriend questions what colour sofa Castle was proposing to give them  – “What colour?? Free!” That’s the lack of gratitude which offended me greatly from the start, taking a gift and just tossing it aside; like the inscribed books in second-hand bookstores I wrote about here some years back. There’s the fuzzy logic at work, you must buy a new sofa to put your own stamp on the place. Well, surely you must also only buy new build houses or else how could you possibly put your own stamp on the place? But then I suffered this ad after David Attenborough’s jeremiad about climate change. One of the talking heads featured said we need to lead a less wasteful life, and that this wouldn’t impact on our standard of living very much at all. We just need, in his example, to buy a good washing machine, care for it, and make it last. Well, this ad now offends on a whole other level. As well as the two elements that got my goat such obliviousness towards a comfortable, generously gifted sofa will end civilisation and the existing ecosystem.

A TIME TO KILL, Matthew McConaughey, 1996

A time to kill?

I had cause recently to encounter a small but outrageous rewriting of Ecclesiastes 3:1-8.

For everything there is a season,

And a time for every matter under heaven;

A time to be born, and a time to die;

A time to plant, and a time to pluck up what is planted;

A time to break down, and a time to build up;

A time to kill, and a time to heal;

A time to weep, and a time to laugh;

A time to mourn, and a time to dance;

A time to cast away stones, and a time to gather stones together;

A time to embrace, and a time to refrain from embracing;

A time to seek, and a time to lose;

A time to keep, and a time to cast away;

A time to rend, and a time to sew;

A time to keep silence, and a time to speak;

A time to love, and a time to hate;

A time for war, and a time for peace.

God has made everything beautiful in its time.

Mysteriously some latter-day Bowdler somewhere had decided that there should no longer be a time to kill. Which makes John Grisham’s novel seem a good deal less biblically inspired and a good deal more originally vicious in retrospect. I then discovered another verse from Ecclesiastes has been given the same treatment. I didn’t recognise what 44:10, “Next let us praise illustrious people, or ancestors in their successive generations”, was meant to be until musing on the meaning of it I suddenly realised it should have been, “Let us now praise famous men, and our fathers that begat us”. Again, with this change, out the window go the ironical echoes in James Agee and Walker Evans’ photojournalism of the Great Depression Let Us Now Praise Famous Men and Jessica Mitford’s devastating takedown ‘Let Us Now Appraise Famous Writers’. The Bowdler would no doubt defend good intentions, but no. Leave the Word of God alone. If you give yourself license to rewrite the Tanakh because you don’t like some sentiments or gendering then where do you logically end? Do you silently elide Yahweh torching Nadab and Abihu for using fire from the wrong source for their censers? And if not, why not? It’s a bit of an over-reaction, right? Please, change nothing or change everything.

November 19, 2013

Potentials: Francis Lawrence

In this, the first of a series of occasional features, I’m going to argue the case for Francis Lawrence having the potential to be a great director of the future.

Francis-Lawrence-Camera

Who the hell is Francis Lawrence? Glad you asked. Francis Lawrence is the director of ConstantineI Am Legend and Water for Elephants. He came from music videos, just like David Fincher. He had a happier initial time of it in mainstream commercial movies than Fincher’s Alien 3 nightmare debut, even if the ending of I Am Legend got completely changed in post-production on him, but it appears that that bruising experience was enough to send him into mini-exile. Lawrence took some time after I Am Legend before helming another movie. Before 2011 IMDb at one point listed him as being involved in developing 7 different projects simultaneously – all with the same proposed release date… While this exercise in development hell or development indecision was going on in Hollywood, Lawrence turned to TV; directing Ian McShane in the drama Kings, a modern re-telling of the rise of King David in the Torah. Kings was inevitably cancelled and so Lawrence hitched a lift on the Twilight bandwagon with 2011’s period romance Like Water for Elephants starring Reese Witherspoon and Robert Pattinson.

I’m a bigger fan of Lawrence’s three films than most. I’d rate Constantine as Keanu’s best film since The Matrix, at that time. I’d rank I Am Legend very highly as an exercise in suspense, until the dog dies and everything goes to pieces. And I actually think Water for Elephants is a good film, despite its critical mauling. But more importantly I think all three films display some qualities that bode well for Lawrence really imposing his style on Hollywood. Water for Elephants is as measured in its pacing as Lawrence’s previous two films, even if it seems a world away in content. In an age of action editing that reduces everything to a CGI Impressionist swirl, Lawrence is willing to hold shots, wring the suspense out of his sequences, and make the geography of action legible. But his liking for restrained CGI in his two blockbusters explains the joy he found in working with animals, his visual style does convey magic at times; even managing to impart beauty into night-vistas glimpsed from the train which are obviously CGI.

Another strong point derived from his liking for sustained shots and measured sequences is that he has a neat eye for framing, a skill declining rapidly in a world of steadicam. And framing to a large extent is what lies behind an ability to do stomach-churning suspense that Hitchcock would have appreciated. Just think of the expert lengthening of the shadows when Will Smith is suspended in a street with vampire dogs waiting to rip into him when he falls into shade. Lawrence also has a genuine skill for getting fine performances from his actors, especially in supporting roles. Jim Norton is genuinely affecting in what should be a walking cliché of a role in Water for Elephants, much as pre-Oscar Tilda Swinton made her mere handful of scenes immense in Constantine. Then there’s villains…

Lawrence does villains exceedingly well. Christoph Waltz’s August in Water for Elephants is as nuanced a villain as previous Lawrence antagonists. Socrates says that no man would knowingly do evil. Gabriel in Constantine thought she was doing good, that mankind was not worthy of the gift of salvation and needed to be truly tested. The vampires in I Am Legend are the next evolution of humanity, they have bonds of kinship and leaders that motivate their actions. August is a man desperate to escape the Great Depression by pushing his animals and performers, and when he whips the elephant he is overcome with remorse, and offers all his whisky to soothe her wounds as well as explaining that he was enraged by his wife’s endangerment. The fact that we see August commit animal cruelty but only hear about him red-lighting people makes his end rage seem like an Othello-like product of jealousy rather than motiveless malignity. The subtlety of August’s portrayal was not obvious from the trailer. And even Touch, the unloved Kiefer Sutherland TV show had a pilot directed by Lawrence in which Titus Welliver’s villain was revealed to be a damaged hero rather than a true villain. Lawrence didn’t write that, but it’s hard not to think that such a reveal attracted him to Tim Kring’s script. Such an ability to invest villains with real complexity is unusual, and it would be refreshing to see it in a blockbuster where another quality he’s displayed finds a natural home. If August’s nuances were not obvious from the trailer for Water for Elephants then neither was the chasteness, a few stolen kisses, of the romance between Jacob and Marlene until they literally jump. It echoes the chaste relationships in Constantine and I Am Legend, and it seems tailor-made for PG-13-land…

Hunger Games sequel Catching Fire is Lawrence’s next movie, and it’s out on Thursday, with Lawrence already committed to directing its two sequels. I think Lawrence has the potential to be a future great. Whether he realises that potential is largely down to whether he’s brought his skills truly to bear on his greatest opportunity.

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